By Forces

UNSEEN
The lnnovalive Card Magic
Erne.1!Earick
written by
Stephen Minch
~

ill.u4tratwM by
Kelly Lyles
pre-ill.u4tratille photography by
Miller Cravens, Jr.

-~-
HERMETIC PRESS, INC.
Seattle, Wa.<Jhin.gton
 ACKNOWLEDGMENT
The author wishes to thank Ken Krenzel, Michael Weber,
Darwin Ortiz and Steve Freeman for their help and suggestions
on preparing this text. Special thanks are due David Michael
Evans, whose scholarship in the area ofcard magic is a continuing
boon, delight and inspiration.
And, of course, there is Mr. Ernest Earick, without whose
patience and artistic ingenuity this volume would not exist.

Copyright© 1993 by Stephen Minch.

Reproduction or utilization of this work in any form, by any means now known
or hereinafter invented, including xerography, photocopying and recording. and
in any information storage and retrieval system, is forbidden without written
pennission &om the copyright holder.

Printed and bound in the United States of America.

ISBN 978-0-945296-09-6

65

......
 Apologia.
Part One: Ttght Tri.ck.d ani) a Loo.de Sleight 1
Oaptrap 3
Proteus 15
Jack.Syna(ps)ces 27
Lonely at the Top 45
House Guest 53
The Longitudinal Swivel Steal 63
Thought Manifest 72
Bureau d'Echange 81
Kato-n ine- tails 91
Yours, Mine, Yours 102
Alone in a Crowd Ill
A Flippant Triumph 119
Bottomland Aces 125
Intermission: 139
Double Damned 141
Part Two: See Them Shuffling Along 151
Cross Purposes 153
Lustig for Life 165
One Shuffie-One Wmner 173
Poker Blind 178
Tandem in One 182
The Case of the Inconstant Player 192
A Little Bit Patter 199
InJex ofSleigh& 205
Erfl£<Jt Eariclc
 Okay, I admit it. I love card sleights, and I am a little defensive about that.
I have spent hour after hour practicing and tinkering with all manner of'
moves culled 6rst &om books and then, later, plucked &om my own murky
depths. I hope to spend many more hours engaged so. Oearly it is one thing
to profess a love for sleight-of-hand and quite another to say that you love
sleights. It is probably a bit like expressing (with a nod in Hofzinser's
direction) a fondness for rhyme or meter but forgetting to mention that, oh
yes, you do enjoy poetry. Oh yes, that reminds me, I do enjoy sleight-of-
hand with cards. It is just that I have a special fondness for the nuts and bolts
of the craft. There is doubtless a certain superficiality inherent in this pre-
dilection. But, then again, we are talking aboutcan1trU:.kJ here. There is very
little ofprofound significance to be found anywhere within this deceitful art.
Still, I know that I can't help my ridiculous passion, and I strongly suspect
that you can't help yours either. We might as well make the best of it. The
book you are holding is a reflection of my ongoing attempt to do just that.
Some ofyou are probably smiling and nodding your heads as you read
my confession, while other more sensible readers are no doubt shaking their
heads as looks of puzzled concern spread across their faces. Lest I scare oil'
too many ofyou, I should also admit that I, too, almost always find it more
rewarding to learn a new move within the context of an interesting trick.
How many hours did you spend practicing Dai Vernon's one-handed slip
 <
BY FoRcEs UNsEEN . ......... ... ··· .. ··· ............. . ... .

cut from "Cutting the Aces" in Start~ ofMagic? (Some of you are going to
have to play along here. Please just nod your heads and keep your wise-
cracks to yourselves.) How much fun would it have been without the
intrigue of the accompanying ace production? Probably even the most
sleight-obsessed among us have never completely lost sight of the fact that
these moves are primarily means to other ends. From the inception of this
project the goal has been to place my beloved sleights, wherever possible,
within some sort of practical and practicable &amework. Truthfully, some
effects began as little more than exercises devised to allow the exploitation
of certain possibilities suggested by a particular new move -sleight fodder,
ifyou will. Fortunately Stephen Minch is virtually incapable ofseeing things
in this penrerse way, repeatedly refusing to allow such willful subordination
of plot to technique. The material throughout these pages is largely reflec-
tive of my ongoing unhealthy fascination with card technique, all the while
tempered by my author-publishers canny ability to distinguish between the
essential and the superfluous. Believe me, Stephen can be a tough critic. He
has the rare and unforgivable ability to see matters from a spectator's point
of view, and never hesitates to politely point out the logical inconsistencies
within a trick. More than once when faced with such irrefutable "Minchian"
logic I kidded him by saying that he did not thin/c like a cardman. I have been
coerced into abandoning several items of potentially wide interest simply
because they were demonstrably inferior. Outrageous I On other occasions
Stephen told me that while a variant handling of mine was indeed superior
to a previously published trick, he did not think the published effect worth-
while to begin with. I suspect that other writers might have had more ofan
affinity for my peculiar brand ofsleight-driven card magic. I am certain none
could have produced a better book.
You will also notice that this book contains a wealth of literate patter and
an abundance of clever presentational ideas. While I love good magic, I
perform precious little of it, and I'm not sure that's likely to change in the
near future. Consequently such niceties (okay, necessities) have generally
eluded me. Candor thus compels me to note that nearly all the patter and
presentations included in this book are the uncredited creations of the book's
author. The one freakish exception (also freakishly sleightless I) is the most
recent addition to the book. There may be some flicker of hope for me yet.
It isn't that I don't realize that the creative challenge in the perfonnance of
entertaining magic is every bit as demanding as that posed by the mastery
vi ...................... ... ................. . ...... . APO LOG IA
........................ .... .......... . Bv FoRcEs UN SEEN

and development of powerful technique or innovative method. I do under-

stand all that. It's just that I've never really seemed to care very much. Sony,
but I have followed heart and whim and they have led to what you hold
before you. Just be grateful that Stephen Minch wrote this book and I did
not. (And, hey! Don't ask me what a chakra is, all right?)

In the swruner of 1986 I was fortunate enough to visit the Magic Castle in
the company of two of the very finest young magicians in the country, Ray
Kosby and Bill Goodwin. As we entered the Castle we were met by the
talented professional magician Deane Stem. Dean instantly ushered me over
to a comer table, not allowing me time to think or become nervous, and
introduced me to Dai Vernon with some ridiculous request like, "Show the
Professor your 6nish for Triumph." Yeah, right. Once safely ensconced at
that comer table, though, I didn't fTUJve. I made myself a nuisance there all
night, subsequently meeting Lany Jennings and Michael Skinner, among
many others.
The highlight of the evening for me was the interest Vernon took in my
broadside swivel steal (see pp. 55-58). Each time I would take a carcL insert
it cleanly into the center of the deck, square the cards carefully with both
hands, then show that the selection had arrived at the face of the pack. He
must have had me do the move for about a dozen different people that night.
"Ray Grismer! H ey look at this. Do that all-around-square-up thing. You
ever seen anything like that?" I was floating on air.
Still, I wasn't quite satisfied. There was one more thing I wanted. I badly
wanted to see Dai Vernon do something with a deck of cards. Anything.
The Professor was already in his early nineties and, I was told, did not often
take up the cards in public. Earlier in the day, though, Bill Goodwin had
given me a diabolically clever tip: "Vernon truly loves the bottom palm. He
hates to see it done badly. Just start talking about the bottom palm." I
did. It worked. I showed the Professor a method I'd been working on.
He immediately took the cards away from me and proceeded to show
me the bottom palm done properly. Soon, however, I found my
excitement giving way to a bit of embarrassment as Vernon repeatedly
d id the move-fingers absolutely motionless-then each time handed
me the pack to try. Unfortunately, I was without a clue. Vernon didn't
tip the move, he just did it. Thankfully some merciful interruption

APOLOGIA ••••.•.•••••• . . . •••••.••.....•••. . ..•..•.• .. ••••.•••• vii

BY FoRcES UNSEEN ••••••.•.•..•••••.•.••••••.•.•..•...•••

steered the conversation in a new direction, saving me &om further

discomfort, and the night continued to unfold ...
Much later, at the end of the evening, I was sitting outside with Lany
Jennings. I'd brought along my copy ofthe recently pubMhed C/4NicM.gir
oflarry JenningJ hoping for just such an opportunit:y to have it signed ACta-
inscribing some lovely words in my copy of the finest collection of sleight-
of-hand card magic of the last quarter-century, Lany took out a deck and
said, "Look, what the Professor was trying to showyou is this ...."' He then
explained how I could anchor the forefinger of my leA: hand at the &om of
the deck, thereby eliminating the fluttery finger motion often seen with this
variant of &dna.se's bottom palm. It was a sweet gesture &om t:lm gndf
grizzly bear of a fellow, and pertectly capped a truly memorable nighL
I have Lany Jennings's patient explanation that night to thank for what
is the 6nest item in this book. Please do not overlook the description oft:Le
bottom palm in "Bureau d'Echange': It is surely the best bottom palm in
print. It's done with one hand, involves no visible finger movement, and~
much easier to do than it might seem. It is a logical outgrowth of the 'W'<ll"k
of&dnase and Vernon. It is so good that anyone who might have discove::ed
it previously appears wisely to have kept it a secret. The sleight is so good
and so logical, it has always seemed more like a discovery than an inventico..
Therefore, I felt no great surprise when, during the preparation of~ book.
it was brought to my attention that the brilliant Paul Cw-ty came ll'eTY close-
indeed to making the same discovery, and did try to tell the world back in
1941. Iffew listened then, there is no guarantee more will now. Nevertheless.
I stand 6rmly behind my rather grandiose claims on behalf of the move.
Now, tum to page 85 and learn this sleight. You will not regret it.
Elsewhere in the same chapter is what I probably would consider my
favoriu sleight in the book. Please give some consideration to the t:rai:t.s&r
move described~ the end of"Bureau d'Echange': It is not nearly as good
as the bottom palin and is probably something of a cheat, using as it does
the ~e of the table for shade. Nevertheless, this move, adapted from
Hofzinser's transfer palm, is awfully fun, and capable ofwide application..
The only other item that I'd like specifically to draw attention to is
the reverse described in "Proteus': It is probably the most difficult
sl~ight in_a book ~th more than its share of challenges. Initially I balked
a httle at mtroducmg the move in the variant form required for this trick..
Stephen more than satisfied my concerns, however, by appending- a

Vlll. • • • • • · • · · • · • • · · · • • · · • • • • · • • · · · • •. • ••.••••.• - . . . . . AP OLOCFtt

....................................... Bv FoRcEs UNSEEN

description of the reverse as I most often use it. The variant called for
in this particular trick could probably be adequately replaced by a clip-
steal in combination with a wrist-turn. And, in its general form, the
move could be seen merely as an alternative to Ken Krenzel's ever
reliable mechanical reverse. Please do give it a chance, though. Done
well, the move has a delicate, open, at-the-fingertips appearance that
other approaches do not usually have.
New sleights can often lead to the creation of new effects or to the
dramatic simplification of worthwhile existing approaches. In fact, therein,
I believe, lies the chief redemptive value of much of my work as it appears
in this book. In the end, all that I ask is that you persevere in your efforts
before abandoning any of the material as too difficult. There is much that
may seem unfamiliar in this book, but very little that is truly exotic. Nearly
all the moves have a basis in one or more standard sleights. Almost without
exception, these moves are easier to do than they might first appear. I
personally think they are all easier than, say, a smooth pinky count-though
I will grant that my objectivity here may be more than a little suspect.

I must take a little space to express my indebtedness to just a few of the

people who deserve my gratitude. Please bear with me. How often does one
get such a splendid public opportunity?
Thank you Dusty Cravens, not only for the fme photographs you
provided Kelly Lyles to work from, but even more for the constant support
you've shown me and my work over the years.
Thank you Chuck Smith for providing an example of surpassing excel-
lence -creatively, technically, presentationally so impressive as to be more
than a little daunting. This man's work, readers, is what magic is really all
about-not my little card moves. I hope the whole magical community soon
learns what a lucky few already know -that one ofthe finest master magi-
cians in the world today lives in the small town of Carlsbad, New Mexico.
Thank you Cliff Hill and Eric Evans, two very good friends and two
very fine magicians, for being so difficult to fool and so difficult to
please. Much of what is worthwhile in this book can be traced directly
to you two 'Jifficult gentlemen.
Thank you to all my patient friends and family members. First you
had to put up with a young magician who persisted in showing you

APOLOGIA ••••••..•....•.•••.•..•..•. •..•.•. •....•.• ••• . ••. ..•• ix

BY FoRcEs UNsEEN ........ ......... .... ...... ............

years and years of appalling magic. You now lovingly suffer an older,
eccentric .6nger-flinger who consistently begs off &om nearly every
requested performance I
Thank you Ray Kosby for that wondrous night at the Castle back in
1986, and thanks also for mentioning my work to that friend ofyours named
Minch. This book is a direct result ofactions you took on my behalf. I will
not forget the kindness you've shown me.
Thank you Johann Nepomuk Hofzinser, Mr. Andrews (if that is really
your name), Dai Vernon, Ed Marlo, Henry Hay, Jean Hugard and
Frederick Braue, Lewis Ganson, Karl Fulves, Jon Racherbaumer, Richard
Kaufman, Lany Jennings, Martin Nash, Tony Slydini, Dick Cavett, Bob
Kirk, Dad Stevens, Chester Burnett, Paul Westerberg, and the entire Velvet
Underground. Sony. I got a little carried away. Thank you all.
And, thank you Teresa Neudecker for all the time we've had and all the
time we shall have. There is nothing more precious.

Finally, if, someday, some young magician approaches me tentatively to

show me his or her creation using one of the sleights contained within these
pages, and my breath is taken away as I realize that this person has had the
insight and creativity to pursue my original vision to a place I could not begin
to dream of, I suspect that then, and only then, will I know just what a
dreadful mistake this book has been.
Ohwell.
Read on.
Ernest Earick
Al/mqu~rque
Fdlruary, 199]

x ......... . .. . ....... ....... ............ ...... .... . AP OLOG/11

<
Part One:
Tight
TriclcJ
d
aLoode
Sleight
hree cards are selected, noted, then shullled back iulo
the deck. The deck is set on the table and the pedonnet'
claps his hands once. In response the first selection m~s
from the pack, turning face-up as it lands. H e claps his
hands a second time and the second selection turns fat.-e~
up and swivels out of the middle of the deck. \ Vith a
third clap, the last selection materializes sudden\y at the
tips of his fingers. Tlm~e claps produce three card s Ut
three strikingly visual ways.

Begin by having three members of the audience ead\

select a card. Have the cards returned to the pack and
control them secretly to the top. The third card selec~~
should be uppermost, the second select ion beneath it,
and the f~.rst selection third from the top. Thcr·e are
numerous ways of achieving this. Mr. E.;wick \H~es
Martin N ash's tabled multiple shift' with a small chat\@'c
in handling:
Place the deck face-down and sidewise in ft"\lnt of
you on the table. With your left thtunb, rilllc up the

'Ref. E1rer So Skigbtly, pp. 30-33.

Bv F o Rc Es UNsEEN ...................................... .

inner side of the pack. stopping near center.

With your right hand, take the ftrSt spectator's
cru·d and insert it at that point in the pack,
leaving roughly n third of the selection pro-
tntding from the right end. Release six or
seven cards from the left thumb and insert the
second selection nt that spot, leaving it similarly jogged from the right end
of the pack. Release another six or seven cards and insert the third selec-
tion, also t-igh~ogged (F1gure 1).
You will now c.xecute the automatic rear jog. Position the hands, open
and palms towru-d each other, at the ends of the pack (Ftgure 2) and bring
them smartly against the ends, pushing the chosen cards briskly Bush with
the t·cst- or so it apperu-s. In reality, the right palm moves very slighdy
inward on the outer comet-s of the cards as it pushes them leftward. Tbis
r-esults in jogging the selections for about a quarter of an inch at the inner
side of the p.'\ck (Figure 3).2
N ext , with both hands, grasp the deck at its ends as if in prepara-
tion to cut for a riffie shuffie. In doing so, place the left second finger
ngainst the outet· left comer of the deck, and the tip of the left thumb
against the inner left corners oft he jogged selections. Then push these
left con1ers forward, into the pack. This sh ifts the selections to an
nnglejoggcd position (Figu.r e 4). In almost the same motion, place the
tip oft he right thumb on the projecting inner right comers of the three
cards and push them leftward and forward, moving them to a leftjogged
position in the deck (Figure 5). The left fingers conceal the protrud-
ing ends of the czu·ds from the audience. \Vhile the movement of the
selections from injogged to endjogged position is described in two steps,
the actions should be executed as one smooth maneuver.
Now, with your left thumb, contact the left inner comers of the jogged
cru-ds and lift them slightly at the near side of the pack. \Vith the right hand.
immcd~'\t ely shift the bottom half of the deck to the left until it is aligned with

' Ron:\ld l.Atbowiecki ronll-ibuted 1his maneuver to f\AA'.~P."'· Vol. 6, No. 3, March 1983,
p. 755. The idea, however, is almost certainly much older. O ne example that suflPO""
thiasuppo,.Ution apperu-s in 1'& Cu-J,Ifagirofl.e.Paul·where, on pp. 110-111 , M r. LeP~
c-xphuns a similru- jogging maneuver in the context of a false riflk shuffie. Whik DOC
wishing to 1.1ke nny thif18 "'\f:\)' from l\\r. Lubow iedO, caution would suggest chat this
~)&-lng method hns p rob.'lbly been explored and used by others O\ter the )-ears.

4 .. ...... .. ................. ..... . - ...... .. ..... . CLAPT~AP

... .. • • • 0 •••••
0 ••••• ••••••••••••• • •••••
Bv FoRCES UNSE E N

l ~ ~~~;0
I ~ ~·
;:;
I
y 3

CLAPTRAP .....•••.......• • .. ........... . ................. 6

BY FoRcEs UNSEEN ...........••.•. . . .. ......••...........

5
the jogged selections (F~ 6, left thumb raised to expose the situation).
Using the left second finger and thumb, grip the bottom half and the three
selections by the left comers; and with the right second finger and thumb,
grasp the top half of the deck by the right comers. Then S\viftly separate
the halves, stripping the selections from the right hand's portion and ontn
the left hand's packet (FJgUre 7). Immediately perform a riffie shuffie. drop-
ping the top three cards of the left-hand packet (the selections) last.
Square the deck and, with the left thumb, riffie up the inner side. When
you reach the top two cards, catch a break below them with the right thumb.
and without hesitation continue the left thumb's upward riiBing action.
releasing the two cards. W rtb your left hand, undercut about a third of the
pack and place it on top, stepped a quarter inch to the left (FJgUre 8. right
thumb raised to expose the step). Repeat this undercut, transparting another
third of the pack to the top and aligning it with the stepped 6:rst block.
Conclude the running undercut by cutting all the cards below the .r\:,oht
thumb's break to the top, aligned with the previous blocks. This triple cut
positions the second and third selections at the face of the pack. jogged a
quarter inch to the right. The 6rst selection lies on top of the pack.
As the audience perceives it you have inserted three selections. int'O
different parts of the pack, then lost them with one shuffie and a quick sene.~
of cuts. With the right hand, pick up the deck by its r\:,o-ht end and place it
into left-hand dealing position, turning the jogged bottom cards iO\.v ard.
These cards are hidden throughout by the right fin..,.aers.
Shift the right band's grip. taking the deck by the eiXls; and. with the- right
thumb, push down on the injogged cards. fonnin,g a break abo\'e them.
"Though your cards are now lost in the pack. their locations can be
determined by a finely tuned set of~oers. Let me show}'OU.l'll out ~~dy
6 .......................... . ... .. ........ .... .. .. CL~~Tf!<~/l

ad
.... ... . ....... ..................... . .. Bv F o R cE s UNs Eg N

,..
I

CLAPTRAP ..... • .••..•.•.......... . . . . . . . . . . . . . . . ..... .... 7

BY FoRcEs UNsEEN .... .. . . .............................. .

to yow- card first." This is said to the 6.rst spectator. Swing cut something
over half the deck into yow- left hand. That is, with yow- right forefinger
li& about thirty cards at the outer end and pivot this end le&ward until you
can grip it in the fork of the left thumb (Figure 9). Draw the packet off the
deck, taking it into the le& hand.
As you complete the swing cut, use the right hand's bottom portion to
£lip the top portion face-up. Tum the face of the left hands half toward the
first spectator and, with the tip ofyow- right second finger, tap the exposed
card as you expectantly say, "Yow- card." Of cow-se, it is not, and the spec-
tator tells you as much.
In the gesture of tapping the left hand's packet, the right hand's packet
is brought over the left's and about an inch inward of it (Figure 10). When
the spectator announces yow- failure, look up in sw-prise and, as everyone
else looks up with you, release the two cards below the right thumb's break
onto the face of the left hand's packet. Due to the placement of the hands,
these cards will fall into an injogged position.
Now turn over both hands simultaneously, the left hand palm-down, the
right hand pahn-up. These movements are synchronized to conceal the
presence of the two face-down injogged cards on the face of the left hand's
packet. Yow- actions are not rushed; they are relaxed and casual. With your
left forefinger, point toward the card at the face of the right-hand packet.
"Is it this one?" you ask the first spectator. It is not.
'1 should have known better. Let me explain. This is a brand new deck
and the cards aren't accustomed to perfonning in public. Yow- card is shy
and now it's hiding from me. When this happens there is only one thing to
do." As you are saying this and mildly misdirecting attention from the deck,
perform the following actions:
Turn your right hand palm-down and slip its face-down packet
under the left hand's packet. In almost the same motion, turn the left
hand palm-up, bringing the deck face-up. Again the timed motions of
the hands conceal the two reversed cards, which now lie injogged some-
what above center in the deck.
In a continuing action, bring the right hand pahn-down over the pack
to grip it by the ends. In doing this, place the right thumb on the inner left
comer ofthe injogged pair and push it forward and rightward, anglejogging
the two cards at the inner right side of the pack (Figure l ~). Grip the deck
by its ends and revolve the right hand palm-up. This turns the deck
8 . .... . .. . . . .... . ....................... ....... .. CLAPTRAP
.......... . . . . . . . . . . . . B Y F O R CES U NSEEN

10

... ..... ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

..9
 4

Bv FoRcEs UNSEEN .......................................

12
face-down and sidewise, with the
angled pair jogged fi·om the inner edge.
As the right hand turns up with I he
deck, rotate the left hand palm-down
and grasp the pack by its left end, sec-
ond finger at the outer comer, thumb at
the inner, and forefinger curled onto the back (Figure 12). Release the right
hand's grip on the pack and set the cards just in front ofyou on the table.
The deck should not be perfectly squared as you set it down. Let it settle in

J.f

10 ..... . .. . ...... . ....... .. .... . .. ................ ('/, AP T R .-4r

 .. . . ................................... BY FORCES UNSEEN

a slightly untidy condition, with the top of the pack beveled toward. you at
the a-ight end (Figure 13). The right inner corner of the anglejogged double
card should project less than a quarter ofan inch &om the inner side of the
pack. The slightly unsquared condition ofthe cards and the right-end bevel
aid in concealing these projecting corners &om spectators at your sides.
The hands still do not leave the deck. F'U"St the two thumbs ri£Ile simul-
taneously up the inner side of the cards above the injogged pair. This riHle
is pronounced and obvious -so much so that you actually install a light
lengthwise crimp in the top card.
At this point you have just said, 'When this happens there is only one
thing to do." Remove your hands &om the deck and sit back. "f1ush it out.
A loud noise does it. Chosen cards hate
loud noises."
You now perform Gerald Kosky's
applause card disclosure3 to produce the
first selection. Position your hands,
palms toward each other, about a foot
apart, just behind the deck (Figure 14).
Then clap them smartly together. Done
properly, a gust of air is created, which
catches the crimped top card and blows
it forward, ofT the deck, simultaneously
llipping it face-up (F'tgure 15). There is a
knack to this. Success does not depend on
clapping the hands hard. I£ after practicing
a bit, your palms begin to feel like ham-
burger, you are clapping with too much
force. Work on clapping the hands in a
fashion that thrusts the air between them
straight forward. Keeping the hands very
close to the table top as you bring them
together is also important. Let the edges of
/ the fourth fingers graze the table swface
15 when you clap. Ifthe top card does not Sip
JRcf. Gtnu: Vol. 29, No.5, Jan. 1965, p. 266; or TbeMagicofGera/J Ko.JI.:y, p. 45. Although
this is the first printed source of this idea I am aware of. there is evidence to suggest
that the clap revelation may have been conceived prior to Mr. Kosky's discovery ofit.

G'LAP1'RA P •.•. . • • . • •• •.••.. • ...•.•• • .•••..•.••.•..•••••••. 11

 q
BY FoR cEs UNSEEN ...................................... .

over for you, try making the crimp in the card more pronounced. The crimp,
though, should not be so extreme that the audience can perceive it.
"There it is! Let's see ifwe can scare out your card too." Hereyou indicate
the second spectator. Oap y our hands again; but this time. rather than
relying on air pressure to produce the card. you physically knock it into view.
Actually, you knock out the face-up double card. Bring the hands together
directly behind the deck, just as you did a moment ago- but this time you
hit the tip of the right second finger against the inner right corner of the
anglejogged double (F~ 16), causing the two cards to swivel clockwise
as one and appear face-up, sticking &om the pack just belo...v center (Hgure
17). A certain precision is required to do this neatly. but it is not as difficult
as it might seem. Again, graze the edges of the fourth fmgers along the table
top, this time to guide the movement of the hands; and use the lefr hand as
a stop, to govern the right hand's force as it knocks the double card into view.
Occasionally, if too much force is applied, you will knock the double
completely &om the pack. Astonishingly enough, the two cards will remain
perfectly aligned.
'With y our right hand. pick up the deck by it right end and tilt it to display
the face of the second selection more clearly. Then bt-ing the left h.wd p;Jm-
up under the double card and neatly remove it from the deck, taking it into
deep dealing grip. positioned for a gambler's cop. That is. the &ont \cit t.'t'\t1ler
of the double card should lie near the fot-k of the thumb. and the h-unt right
corner should rest on the tip of the second fu~r.
'With the right hand, smoothly set down the deck and. ifit is not :Ur"'·tdy
there, move the left hand casucJ\y inward. bringing it to rest on the.' t.tblc.-,
close to the near edge. Simultaneously, use the \clt st'<'ond fi.t'b--er to bu..-kl~·
the lower card of the double, gt;pping it lightly in grunbler$ l'op.
"Usually, when the third card hears the other two g"i't \.':m,ght. it tl;t's It'
ay away." As you say this. look at the audienct', misdir~.'tlng fi·om ~'\mr h.m,\$
while you bring the right hand b.'lck to nwet tht• ldt. Grasp the sc."'''nd
selection by its inner right corner (Figm-e 18), t\.'1110\"t' it lium tht' ldt h."tnd
and toss it gently to the table. This leaves the- third sdt~t1on hiddc.·n in \d't -
hand gambler's cop. with the hand positionl'd 1\t':u· the t:tbll' t"-~"' 1~1 r
ma."<lnlum cover.
"It happens so fast, it's almost impossible to SC\'. Look. thel~ it ~"'-'l·s. \\ i th
your eyes and right hand. trace the uwisible path of the tl,\'tl"\0 \;'.tnJ li' t\\ th<"
deck to a spot on your right .
12 ....... .................. . .... . ... . . ............ . , ,,.,.,It ,,

sc1
 .................................. .. . . . Bv F o R C E S UNSEEN

\
/ \
17

......-:::

/
/
~

18
"It's hovering just there. You have to be fast to catch it." Turn to your
right, holding the right hand palm outward, about shoulder height. At a
relaxed pace, raise the left hand to join the right, while sustaining all atten-
tion on the right hand. As you move the left hand, keep it tilted up a bit, to
conceal the palmed card. At the same time, curl the left fourth finger in and
CLAPTRAP . • ••.•••••. • •. . .••••.• • .• .• •••••••••••.• • •••••• • 13
BY FoRcEs UNsEEN ......... .. ... . ........ ····· ·· ··· ·· ····

I \
19 \ 20
under the card (Figure 19). Then,
when the hands are approximately
five inches apart, straighten the left
fourth finger, swinging the palmed
card into view at the fingertips and
holding it momentarily clipped be-
tween the third and fourth fingers
(Figure 20). Simultaneous with
this action, clap the hands together,
seeming to catch the card from the
air, at the very tips of the second
fingers (Figure 21) .
"Got you!"
/ \
'\

21

14 ..... . . . . .. . .. ............ .. •. • . • •• • • •• • • . • • •. • •
CL n4 PT R AP
~HI I I'OIIt'
fi·ccly touc.:hcs any card in the pack. The card is
II ()( I"Cilll>V~·d
rr·orn its position, but is clearly shown tO
everyone bd or·e it is pushed into the deck again and lost.
Somc.·u11e d~e is asked to try to locate the card just
sd ct·tc.·d by stopping at it as the perfor'tller riflles through
the pm:k. This fledgling attempt appears to be a failure, as
t lw cnnl stoppeJ at is not the first selection. However, the
pcd 'o nncr explttins a well-kept secret of magic: The
magician doesn't have to find the chosen card-he has
only to lt ·an~ lon n any card into the chosen one. He gives
the em"< I a snap and it changes visibly into the selection.

Three sleights are used to accomplish this quick and

visu:d ly drama I ic cfl'ect: a card control, a secret rever-
sal .-nd a color change. The control and reversal are
complet ely orig inal concepts of Mr. Earick's. The color
ch11ngc is a Fresh approach to the Goldin snap change.
Th e trick begins with the free selection of a card.
Spread the deck (~tee-down between your hands and
lutvc someone tou ch any card. If possible, time the
s preading of cards s o that the card touched rests
Bv FoRcEs UNSEEN .. ..... ........ .. . ......... . ..... .. ... .
-
somewhere near the center of the pack. Ou~og the card touched for about
a third of its length. As you do this, ask the spectator if the card is indeed
the one she wishes. Nothing in your actions should arouse the slightest
suspicion ofa force or switch. Slowly and neatly close the spread cards back
into your left hand leaving the touched card in place and the deck farther
forward in the hand than is usual with dealing grip. You 'vill no\V rai-se the
deck to expose the face of the ou~ogged card to the audience. and in this
action you will prepare for the control of the card.
Slowly raise your left hand, turning the face of the pack toward the
audience. At the same time, bring your right hand palm-do\Yn overthe pad;
and place its fingers lighdy on the outer end of the selection. with the rip~­
the forefinger resting on the back of the card. This pennits you to dip the
card between the first two fmgertips. Also place the back ofthe right thumb
against the outer end of the packet that lies above the chosen ca.rd.
Immediately use this thumb to push all the cards above the selection in~
for roughly an inch w hile the right fingers hold the selection starion.ar:'·
(Figure 22). This secret adjustment is fully covered by th1! deck ami
upjogged selection. If you angle
the top of the pack somewhat
forward, the downjogged block
will be concealed &om spectators
in front, and on your left the
stepped packet is hidden by the
left hand and wrist. The right
hand conceals the situation from
those on your right.
Immediately after pushing the
top packet down - indeed, almost
simultaneous with this action - {
pull the upjogged selection fru-rhe.-
from the pack (for about two-
thirds of its length), ostensibly to \
give the audience a better view of
it. You wish to draw the selec-
tion out just enough to pemlit its
lower end to clear the r-etr·acted
\ \
upper block.
16 ...... . .............. . . ............. ........... . I~:< • =-~ -· ::
0 oO 0 o o OOO
0
o
0 0
Oo
000
O OOooo··········o •••• B v F oRces G:ssEE.:S

Now, vvitb tbe rip of Lhe

right thumb, press firmJy
!
:
against the back of the selec-
tibon, at a point immedifatdy
_ a ove the outer end o Lbe
l
lower packet. This causes the
inner eod of the card to bow
upward unt il it is slighdy
higher than the top of the
upper packet (F.gure 23). As
soon as this position is reach-
ed, push the selection down for
about three-quarters of an
inch, causing it to slip over the
top portion. The bo~ring of the
card should not. of course. be
perceptible to the audience.
You must now adjust the
ZJ right hand's position on the
cards to finish pushing the
selection flush. Tighten the left fmgers and thumb against the sides of
the cards to hold everything in place. Also press the rip of the left
forefin.g er lightly against the face of the
selection (F~gure 24). This stops the
card &om tilting downward while the
right hand shifts grips-for an un-
d esired tilt would provide a hint of the
true condition of the card.
Move the right thumb to the inner
end of the injogged packet, v•hile the
right fingertips remain in light contact
with the outer end of the selection
(Figure 25). Then, w ith the fingers
and thumb, simultaneously push the
\.
selection flush with the lower portion
~ of the deck, and the upper portion for-
"'-. 24 ward until it is aligned \vith the r est of
PRO TEUS •.• •• •. o •••••••••••••••••••••••••••••••••••••••• l7
 q

Bv FoRCES UNSEEN ... . ..•... . ..•. · •· ··•··••········ · ···•·

25
the pack. This automatically loads the selection on top of the deck; yet,
from the audience's side, the card appears to go straight into the middle.
As you push the selection flush, lower both hands, bringing the deck to
a face-down horizontal position. If you also apply moderate downward
pressure to the top packet as you push it forward, friction will force the card
below it to move outward for half an inch or less. Let the spectators see the
slightly ou~ogged card at center, which they reasonably preswne to be the
card they just noted. Then slowly and fairly push it flush.1
You now do one ofseveral things: you can dribble the cards casually from
the right hand into the left; you can set the deck down on the table; or you
can ribbon-spread the pack. Each of these gestures is meant to show, . . vith-
outyour saying as much, that no breaks or jogs are being employed to keep
track of the selection.
"One of the classics of magic is the feat of fmding a chosen card that has
been lost in the deck. When it's done well it fools everyone. The reason it
fools everyone, however, is not the reason you might think; for the trick isn'r
1
Mr. Earick invented this control c. 1985-6, and shared it around that rime with ~,ff<!]
magicians. After this book was first published. he discovered the almost identical idea.
though lacking refinements, in Mnrlo:1 ;Jtft~q,zzine, No. 6, 1988. p. 46. Allan :\ ckertnan·
with his new convincing control (H~re:t My Card. 1978. pp. 82-85) also applies rhe sante
bowing principle to deliver an outjogged card to the bottom of the pack.

18 ......... . . . ........... . .. . .. ............. . . ... . P ROF£ C .'

. ... .. . . . . . . . . . . . . . . . . . . . . . . . • . . ...... • BY FoRcES UNSE EN

really one of finding the

_,.-· .~
care!. Let me show you. As
I riffie through the deck,
stop me on any card you
wish."
Place the deck into left-
hand dealing grip and
bring your right hand
palm-down over it, posi-
tioned to riffle the outer
ends of the cards off the
26 fingertips. Just before you
do so, catch an Erdnase
break under the top card
(the selection), holding it
with the tip of the right
fourth finger at the outer
right comer of the pack.
Riffie up the ends ofthe
cards until the spectator
tells you to stop. Raise the
top portion of the pack
and, with the right finger-
tips, push the card you
were stopped at forward
about an inch, ou~ogging it
on the bottom portion of
the deck (Figure 26). Set
the top portion back onto
27 the deck, aligned. with the
bottom portion.
You will now apply a dynamic taken from the Erdnase top palm to
reverse the top card under the pack. Move your left fourth finger to
the inner end of the deck, just to the left of your right thumb (Figure
27). This finger's position is important. If it is too far from the left cor-
ner of the pack, the subsequent sleight becomes far more difficult than
it need be.

PROTEU S • •• •• •• • •••.••• .•.••••.••.•.•.••• •. • •• ••••• .• • • • 19

BY FoRcEs UNSEEN ... ..... .. ............ ....... ..........

28
Ifyou now press inward with the tip of the r-ight fourth fmger, you can
grip the top card by its ends, between the left fourth finger at the back and
the right fingers at the front. Note that the right thumb, though it is at the
inner end of the deck, does not actively aid in holding the card.
Now place the tip ofyour left thumb on the left edge of the pack and lift
all the cards below the top one, revolving them sidewise and over (Figure
28) while moving them b"'m beneath the selection. Then lower the pack
squarely onto the card. In this action, nuse the right thumb away from the
deck, moving it aside, while keeping the selection suspended and stationary
below the right hand. YoUI· mn.nner of holding the card between the left and
right fmgers, with the right thumb obviously unemployed, creates an
extremely deceptive picture. In essence, you ;u·e holding the top card
immobile as you tum the deck over· and onto it. Yet it appears as ifyou are
simply flipping the deck face~up.
As the deck settles onto the selection. alter the left fmgers' gr;p slightly,
grasping the selection squru"<'Jy belo·w the pllck. At the s:une time, tum your
left hand back outward. This t\UtOn1.atica.lly revolves the deck to a sidewise
position and lays the end oft he out jogged ('tu""<l dit-ectly onto the r·ight for~
finger· (Figm-e 29). Bring your r·ig ht thurnb down on the face of this card
and, with a downwru-d sh-<:>pping nct1on, sr,ap it out of the deck.
The selection is now face-down uncle~· the ln(.'t;.'-Up ~lck. lf the right 6ngers
are kept together· during the sleight , the t·ight hand tlnd deck will conce-J
20 ............................. , ... .. ...... .. ..... pH. 0 T E US
 .. .. . ............... . ......... .. ....... Bv FoR cEs UNs EE N

/
/
I 29
the top card &om all sides, assuring that the secret reversal is invisible.
However, to be completely deceptive, there must be no hesitation when
executing this reverse. Ifyou pause after ou~ogging the center card &om
the pack, the position of the right hand will appear too static or "cozy';
causing the hands to look rigid and suspicious. But ifyou push the card
forward. then smoothly turn the deck over and strip the card out, there is
no hint of hidden manipulation.
"Isthisyourcard? I didn't think so. Well, that's notswprising. You would
have to be pretty lucky to stop at random at the chosen card." As you say
this. rotate the left hand palm-up, turning the deck face-down under the right
hand's card. The card meets the top of the deck before the face-up selec-
tion can be seen. You now have an indifferent card face-up on the pack, and
beneath it the face-up chosen card.
"A good magician, though, isn't concerned with finding your card. Nor
does he rely on luck. Instead he tricks you into believing he has found it.
He takes any card &om the pack, just as you did now ..." With the tip of
your left thwnb, lift the top two cards at the left side. Given a light touch
and a natural bridge in the cards, you should find it reasonably easy to sepa-
rate the top pair &om the pack in this fashion.
". .. and changes it into the one you chose I" As you say this you perform
Horace Goldins snap change-but in a distinctive way: With the right hand,
grasp the raised double card at its inner non-index comer, placing the tips
ofyour second and third fingers on the face of the double, and the thumb

PROTEUS .•••. • •• • ••••.••... • ••.••.....• • •.•••.••.••••••• 21

 4

Bv FoRcEs UNSEEN ................ ············· · ·········

on the back (Figure 30).

Remove the double card
30
from the deck and turn it
face outward, holding it with
the upper end pointed to-
ward ten o'clock, and the
right6ngers~edstr.Ught
to your left (Figure 31).
This grip is decidedly dif-
fer ent from the standard
manner of holding the cards
for the Goldin change, in
which the double card is nor·
mally held parallel with the
length of the fingers (F'Jgure
32). Mr. Earick's grip is far
more natural in appearance.
It also creates a shorter path
for the cards to clear each
other, as will be seen.
To effect the change, the
front card of the pair is
rapidly slipped down and
beh ind the rear card. The
second and third fingers 32
22 ...... ............. ............. ......... ....... P ROTE U S
.. ....... .. .... ..... .. .. ... ..... . ... ... Bv F oRcEs UN sEEN

perform this action by

sliding down and inward
a long the length of the
thumb. They carry the
front card with them, forc-
ing it to snap past the rear
card. At the same time, the
thumb thrusts forward,
pressing against the tip of
the forefinger and holding
the rear card stationary.
33 Figures 33 and 34 disclose
the action from the p er-
former's view. The slipped
card comes to a horizontal
position, clipped between
the heel of the thwnb and

,/ - the tips of the second and

third fingers. The selection

0 34 conceals the palmed card

from the audience.

35
\
PROTEUS •• • ..•• •• ....•..•.•...•......•.......•••••• •• •• • 23
 .............

BY FoRcEs UNsEEN ......................... . ............ .

When Mr. Earick performs this change, he adds one more refinement
to its execution. He holds the double card directly above the deck just before
the change, and extends his left thumb straight up. He then smartly taps
the face of the double card twice against the left thumb (Figure 35). As he
moves to tap the card a third time, he thrusts the right hand straight forward
five to six inches, causing the cards to snap past the left thumb, like a flat
spring over a post -and in this motion he performs the Goldin change. The
forward movement conceals the action of the change itself, and the sound
of the cards hitting the left thumb disguises the inescapable snapping sound
the cards make as they pass by each other. For over eighty years magicians
have thought of this snap as a magical sound. I suspect, though, that many
laymen, without benefit ofa magician's education, mistake this magical sound
for that of two cards snapping off each other, which indeed it does sound
very like. By hitting the double card on the left thumb, the snap made by
the change is disguised, relieving the audience of the problem of deciding
what it is they are supposed to be hearing.
After the change, the right hand is positioned to the right and just in front
of the left hand and deck. This is, fortuitously, an ideal position for stealing
the palmed card onto the pack. The card should lie at right angles to the pack,
with its free end positioned just over the deck. The outer left comer of the
card rests over the outer right comer of the pack (Figure 36). Your left fore-
finger rests at this same corner. With your left thumb, contact the back of
the card and. using the tip of the f'orefmger as a pivot post, pull the card
leftward, swiveling it square onto the pack (Figures 37 and 38). This takes
only a second, and should be done immediately following the change. The
replacement is screened by the selection, and &om the audience's view the
hands seem to be separated, making any such transfer appear impossible.
Fmish by giving the selection a fillip, showing it to be a single card and
the right hand otherwise empty. Then either toss the card casually to the
table or onto the deck.
The modifications Mr. Earick has made to the Goldin snap change and
his refined method ofloading the palmed card onto the pack improve a card
transformation that has always had strong appeal.
The bow-to-stem card control is an excellent sleight that has fooled some
very knowledgeable card experts; and it can be used not only as a contrOl.
but also as an effective sequence in an Ambitious Card routine.
24 .............................................. . . PR OT E US
 .. . . . . . . . . . . 0 . . . . . . . 0 . . . . . . .... .. 0. 0 . 0
Bv FoRCES UNsEEN

I 36
; .

37

38
PROTEUS .•.•.•....••••••.........••.• .•.• .••..••.. .•.• •• 25
 2!Q
.- ~- ~

BY FoRCES UNsEEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ .

And the rotation reverse can be employed to invert &om one card to
twenty-six beneath the deck. It also is as well suited for use with a small
packet as with a full pack. Please note that the reverse can be done without
first outjogging a card &om the center of the pack. Indeed, that is how Mr.
Earick normally uses it. Simply execute the reverse as you Hip the deck face-
up, transferring the cards from left hand to right in the process. The
deceptiveness of the sleight can be further enhanced if it is executed on the
oHbeat, during a moment of relaxation, a Ia Slydini. Here is an example of
good management using the idea of relaxation: With the palm-down right
hand, take the deck by its ends, forming an Erdnase break under the number
of cards you wish to reverse. Separate the hands casually as you talk and
gesture, leaning forward to help convey a sense ofintensity or interest. Then
relax, leaning back in your chair. As you do this, bring the hands together
and, without hesitation, execute the reverse. Conclude the sleight by
gripping the pack in the right hand, taking it by the outer right comer, then
give it a quarter tum clockwise and lay it into left-hand dealing position. It
must be emphasized that the move is done during the moment of relaxation,
and at the instant the hands come together on the deck.
Mr. Earick had a goal in mind when he created this reversal. He desired
a method, suitable for tablework, that wouldn't require large body turns or
an awkward tilt of the hands to cover the maneuver. T he resultant reverse
fulfills this goal admirably and is capable of wide application. It is an excel-
lent sleight and deserves yow· closest attention.
Given the above, from a technical standpoint, this is one trick that is not
greater than the sum of its pruts. A'i good as the effect is, the three sleights
it depends on offer even gt·cater utility. Having learned "Proteus" you will
have acquired thr-ee C..'<ceptional tools for creating powerhll magic.

26 ... . ........... .... .. ............ .... ... ........ p R 0 T E US

our aces lie face-up on the table. The jacks are openly
reversed in the deck and dispersed at different positions
in it. The aces are picked up and, with a slap, visibly
become the jacks. Immediately the deck is spread to
reveal the aces, face-up and scattered in the very spots
the jacks occupied moments before.

This sophisticated transposition plot is the conception of

the clever California magician, Bill Goodwin, one ofMr.
&rick's long-time &iends. Mr. Goodwin published his
original handling under the title "Slap Exchange" in At
the ExpeMe of Grey Malter, his 1989 lecture notes.' The
embellishment of lodging one set of four cards face-up
in the deck before they are made to transpose with four
others creates an intriguing methodological problem in
which sleight-heavy solutions are difficult to escape. The
Goodwin solutions (of which there are several) are
admirable efforts in decreasing fingerwork, but are
nonetheless demanding. The plot and the problem it
1
Pp. 8-10.
BY FoRCES UNS EE N ..................... ......... ........ .

posed pleased Mr. Earick, and he set about devising an even more direct
solution. The result is not only economical but also elegant in structttrc.
As the trick begins, the empty card case rests on the table, somewhat
forward and to your left. The aces and jacks lie honestly dispersed in tho
deck, as chance dictates - with one restriction: No ace or jud< should be
among the top four cards. One other simple arrangement is rcquin~d: the
fourth card &om the top of the pack must be the mate of' the cm-d on the
face; e.g., the flve of hearts is fourth and the five of diamonds filly~sctond .
The placement of these mates is quickly and easily accompljshcd as you toy
with the cards beforehand. Or the setup can be clone with a llofzinser 11p1~ad
pass as you run through the deck to locate the aces:
Hold the deck face-up in left-hand deaJing grip and silently note the card
on the face. Then begin to spread the cards into the palm-up 1·ight hand,
using a to-and-&o action. "I need four consp icuous cru·ds fort l1is trick; c:u'tls
that you can easily remember. Let's see." As you run tIt rough the cards,
moving the hands alternately together, then apart, watch fo r the mnle to the
card on the face of the pack. When you spot it, cull it uncle.· the r·ight hand ~
spread as follows:
With the tip of your left thumb, contact the left side ol' the e<u.J dir-e<:tly
above the one to be culled (Figure 39). Simultaneously, p ress yoUI· ldl
fingertips against the back of the mate, at its r·ig ht side, which is eXp{)scd

28 . . . . . . . . . . . . . . . . . . . . . . . . · · • • · • · . • . . . . • . . •I I 1 I 'L' , •l • I , \ 1 (I' \)I ,. \

 . ................ . ............... . ... Bv FoR cEs UNSE E N

beneath the spread. Then, as the left thumb steadies the card above,
use the left fingers to thrust the mate to the right, beneath the spread
and into the right fingers, three of which lower slightly to receive it. The
right forefinger remains extended along the front edge of the spread
to conceal the culling action &om the audience. Push the mate to the
right until you feel its left edge disengage &om the spread. This pushing-
culling action is done as the hands approach each other, and is
completed as they move apart again. The left thumb aids in keeping the
spread from splitting as the cull is accomplished.
The back-and-forth movement of the hands and the thrusting action of
the left fingers are ideas applied by Edward Marlo to the Hofzinser spread
pass. They are superior to the older culling action, in which the right fingers
pulled the card under the spread. The thrusting or pushing action is better
concealed than the pulling action.
The culled card is caught by its right front corner between the base of
the right forefinger and the cards above it. This grip causes the left side of
the mate to remain slightl:y separated from the rest of the spread (Figure 40,
right forefinger lowered to expose the situation).
While you execute this cull, also watch for the aces as you spread through
the pack, and stop whenever one is found. Split the spread, with the ace at
the face of the left hand's packet, and thumb the ace face-up onto the table.
"The aces will do." Continue to spread through the cards until you have
located and placed all four aces on the table in a face-up spread. You will
find that these actions can be done with perfect &eedom while retaining the
culled card under the right hand's spread.

40
JACKSYNA(PS)CES • •...•.•.•• • •...•.•....•..............•..• • 29
BY FoRcEs UNSEEN ..•.•.•...•.. •..•••••••••••• •••.•••• •.•

When you have thumbed

the last ace onto the tabled
display, bring the left hand
and its cards back to the
right hand's spread and, with
the left thumb, casually push
over the bulk of the packet,
so that it joins the spread
while the last few cards of /
the deck are fanned on the (I
left fingers (FJglll'e 41). You
do this so that you can form
a break above the lower
41
three cards. Move the right hand smoothly to the left, pushing the spread
deck closed in the left hand while catching a left fourth-finger break above
these three cards. This action loads the culled card just above the break. (If
you have omitted the cull by previously positioning the mate, this card can
serve as a visual cue for forming the break.)
Immediately collapse the break, creating an anglejogged step. You do this
by squeezing the tip of the left fourth 6.nger flat against the underside of the
pack. This forces the inner left comer ofthe three-card block to project past
the left side of the deck, lodging against the heel of the thumb (Figure 42).
With your palm-up right hand, grasp the deck at its inner right
corner-thumb on the face, fingers beneath - and turn the deck
sidewise and face-down in the left ha nd while maintaining the angled
step at the inner end (Figure 43). The left fourth finger can now engage
the projecting comer of the stepped cards and form a break beneath
them as it pushes them square with the pack. The culled mate (the five
of hearts in our case) lies just below this brea k.
With the palm-down right hand. pick up the spread of face-up aces from
the table, holding it by its ends. You now secretly add the three face-down
cards above the break to the ace packet. Rather· than set the aces on the deck
to accomplish this, as is common practice, Mr. Earick employs a subtler
maneuver; one that keeps the packet separated from the deck:
The right hand carries its spread of aces just in .front of the pack, tilting
the outer edge of the spread downward to present the faces to the spectators.
Th.is also screens the deck momentarily from view. As the spread obscures
30 ... . . . · · · · · · · · · · · · · · · · · ................. } A C K S Y N A (P S) C E S
....................................... BY FoR cEs UN sEE N

I
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43
the deck, dig the entire tip of the left fourth-finger into the break,
clipping the top three cards between the fourth and third fmgers. Then
straighten the left fingertips, raising the left side of the three-card block
away from the deck (Figure 44) . As this occurs, the right hand
continues to move the spread aces inward until the back of the raised
block meets the back of the spread. The face-down cards should be
aligned approximately with the right side of the spread. This assures
that the added cards are entirely hidden by the aces and the right hand,
while the exposed left edges of the spread remain single.
JA CKSYNA(PS) CES ....................... . .. ..• • .....•....... 31
 LQ

BY FoRcEs UNsEEN ...................................... .

44
I

I
I I 45
Without hesitation, raise the left thumb and push the spread ofaces closed
and square against it, keeping the cards well above the deck (Figure 45). The
instant the seven cards are square, grip them by their sides between the left
thumb and flngerrips. Then use the right fmgers and thumb to square the
ends of the packet. Mr. Earick further conceals the addition maneuver by
performing an almost inunediate all-around square-up. That is, as soon as

32 ...... · · · · · · · · · · · · · · · · · · · · .............. J A C K S Y N A (P S) C E S
··· ·· ·········· ··· · · · · · ..... .. . . ...... . Ov F' O R C I~S U N S I~ EN
the right fingers have squared the ends of the packet, they rcgr; p it, and the
left hand tun'\S counterclockwise with the deck, rotating it e nd for end
beneath the packet. T he left h.ngersand thumb again grip the packet briefly
by its sides, holding it well above the deck as the palm-down right hand
releases its grasp and the left hand reverses its action, rotatin g packet and
deck clockwise. As the packet completes its end-for-end tum, take it once
more in the right hand, fingers at the outer end, thumb at the inner. In
tun1 ing the packet in this manner, the added face-down cards are better
protected from exposure.
This addition procedure is a close relative in a family ofsuch maneuvers
dating back at least to 1919.2 Mr. Earick's add-on ha ndling is less subject
to angle problems than most of its predecessors because the added packet
is simply raised off the pack rather than raised and reversed. As with many
of its relatives, its most vulnerable side is from the left; but ifyou tilt the left
side of the right hand's spread downward a bit at the moment of the addi-
tion, even this angle can be overcome. Ifexecuted smoothly and with proper
timing, the addition is entirely invisible and, because the packet obviously
does not contact the deck, the maneuver is never suspected.
Continuing the action without pause, peel the aces one by one onto the
deck in this fashion: With the left thumb, contact the face of the right hand's
packet and draw the Erst ace onto the face-down deck, jogged about an inch
to the right and slightly inward. Draw the second ace onto the first, jogged
farther to the right, then the third ace onto the second, jogged farther still.
This leaves a four-card packet in the right hand, masquerading as the lone
fourth ace. The extra thickness of the packet is concealed in three ways: first,
by positioning the right fingers along the &ont edge of the packet to mask
it; second, by continuing to tilt the outer end of the packet downward, con-
siderately exposing its face to the audience; and third, by keeping the right
hand and packet in unhurried motion as you form the spread on the deck,
thus preventing the eye from focusing clearly on the edges of the cards. In

2Charles T. Jordan pioneered the idea in such tricks as "Color Divination" and "The
Amazing Aces" (Char/u T.Jor*.n:OJ/JedeJTriclvJ, pp.30-31 and 76-77, orC/xzr0Jo~an '.J
&t CvYJ Triclv!, pp. 64-65 and 133-135; both works compiled by Karl Fulves). In more
recent times others have applied and relined the concept These include Tenkai., Edward
Marlo, Doug Edwards, John Carney, John Mendoza, Harvey Rosenthal, Chris
Kenner and Ken Krenzel.

JA CKSYNA(PS)CES ...•••••• . •. • •.•••. .. .•.•.••.•••••.• .• , • •.. 33

 q

BY F oRcEs UN sEE N ............ . .... . ...... . ............. .

addition, the audience's attention is drawn to the spread of aces being

formed, not to the right hand's cards.
Rest the right hand's four- card block on the face of the third ace,
completing the spread (FtgUre 46). You don't want to linger in this position,
as the thickness of the last ace might be noticed. You needn't, however, rush
your actions. Just keep things moving smoothly. Upon setting the right
hand's block on the spread, move the right hand to the left, neatly squaring
the spread on the deck. Do not push the spread flush with the pack. It should
remain jogged widely to the right and slightly inward, as y ou continue to

47
34 · · · ... · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ... .. JA C KS l' N A (P S) C E S
-
.... .. ........ ······· · · · · ···· ··· · .... . . BY F oRcEs UNsEEN

avoid suspicions ofadd-ons or drop-offs. You do, though, catch an En:lnase

break with the tip of the right fourth fmger at the outer right comer of the
packet, forming the break above the lower three aces.
Immediately remove the squared packet from the deck. Here you
can, ifyou like, flash the underside of the packet as you gesture casually
(Figure 47). A back is seen there, as it should be, further canceling
thoughts of added cards.
"The aces are important in any game of cards, so they are easy to
remember."
You are now going to steal away the three aces below the break, secredy
transferring them to the top of the deck. To do this, bring the right hand's
packet once more over the deck to perform a last squaring action. The deck
should rest in deep dealing grip, allowing the left fingers and thwnb to extend
well above it. Run the tips of the left third and fourth fingers, and left thumb
back and forth along the sides of the packet two or three times. The last
squaring motion should leave the packet still held above the deck but
injogged roughly an inch. Just as the packet reaches this position, use the
left thumb and fingers to grip the cards below the right fourth finger's break.
Immediately rotate the left hand palm-down and move it forward to the card
case, which is waiting just to your left. During this wrist-tum, use the left
fingers to carry the face-up aces onto the deck, jogged an inch inward
(F'tgW'e 48).

-y
48

JA CKSYNA(PS)CES ........•....................... .. • . •. •• .. . 35
BY FoRcEs UNSEEN ..• . •.• • • .. •.•• . . . ...•• .• • • .••••.. . •.•.

With the left fingertips, slide the case nearyou, keeping it to your left but
now positioned about a foot in front ofyou and turned sidewise. While the
right hand sets its packet crosswise on the case, withdraw the left hand with
the deck, bringing them to rest a few inches behind the case. "111 isolate the
aces here for a moment, while we find our second set of cards." Before
releasing the packet, riffie the inner ends ofthe cards o£Fyour thwnb (F'JgUre
49), letting four distinct snaps be heard. (The empo/ case acts as a sounding
board, ampliJYing the snaps.)
The action ofthe right hand shields the left hand and misdirects from it.
allowing you to push inward with the left forefinger on the outer end of the
face-up deck, squaring it with the face-down aces.
Thus far you have shown the four aces and secretly switched three of
them for ind.ifferent cards. Though the description ofthis procedure has been
necessarily long, in performance the actions are over quickly. To the audi-
ence, all you seem to have done is remove the aces &om the deck, display
them and set them on the card case.
Bringyour right hand to the face-up deck and grasp it by the outer right
comer. This allows the left hand to turn palm-up and retake the deck in face-
up dealing position.
"The jacks are another four cards that are easy to remember. Let's Snd
them." Spread the cards &om hand to hand and widely outjog the jacks as
you come to them. When the fourth jack has been dealt with, continue to
spread quickly until you reach the last few cards. In doing so, watch for the
mate to the card on the face of the pack, the five of hearts. Stop spreading
w hen you see it. Ifyou go any farther you will expose the three face-down
aces below it.
Now square the cards back into the left hand. catching a left fourth-finger
break above the mate. With your right hand, adjust the outjogged jacks,
arranging them in a fan while they are still in the deck. Pause a moment to
let the audience see them; then execute the Vernon strip-out addition:
Bring the palm-up right hand to the right side of the deck. At the same
time pull down with the left fourth finger, opening the break. This allows
the right fingers to slip into the break as you grasp the deck by its inner right
corner, thumb on the face, fingers beneath (Figure 50).
Shift your left fowth finger to the inner end of the four cards below the
break and, if it is not already there, move the left forefinger to-the outer end

36 · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · .... .. .. J A CKSYNA (PS) CES

... . ... ... . . . . . . . . .. .. . . . . . . . . . . . . . . . . . BY F ORCE S UNSEEN

~
I 49

50
of the pack. Tighten these two fingers' pressure on the ends of the packet
as you pull down, causing the packet to bow convexly along its width.
Without hesitation, move the left hand outward, carrying the packet forward
J A CK SYNA (PS)CES .......••...........••...•..••.......•...•• 37
 Q

BY FoRCES UNSEEN . ................••....•••.• . .•....•• . .

~
/~ I \

51
until it is ahnost even with the fan ofjacks (Ftgure 5 I). Lower the left thumb
onto the jacks and strip them from the deck, letting them settle over the
straddle-gripped cards. Bowing the stolen cards in this fashion assure11 that
they can't be seen as they are added to the fan.
Cage the withdrawn cards in the left fingers, squaring all eight together.
Then slide the packet neatly onto the face of the deck. Imme&a.t.cly apre.l£1
the jacks to the right and take the spread into the right hand as you ~my,
"Unlike the aces, the jacks will remain in the d eck." It i.s here that the malA;
we have been carefully tending bears fruit. When the jacks are removetJ from
the face of the pack, the five of hearts is seen below them. The subtle change
from diamonds to hearts will not be noticed, and the seeming conat:illc:y of'
the card on the face of the deck validates the honesty of your actianli.
"But I will reverse them so that we can find them again quickly." A,.
you misdirect away from the pack by g esturing with the ja.ck.s in th"
right hand, push the hve of hearts slightly to the right - just enough to
permit a fourth-6nger break to be formed under it without cxpo:~ing
the face-down cards beneath.
Bring the spread jacks back to the deck and llip them face..down, squ:trc
onto the pack. Make sure the cards are nearly squared, then tramf<:r the
fourth linger's break to the lefi second finger as you move the tip or the lt-1 l
thumb to the left edge of the pack. By exerting light but finn pr,..MtUr~
between the thumb and second finger, you can grip the five-card blt~k r.J-xwr

38 · · · · · · · · · · · · · · · · · · · · · · · · · · · · · . ... . ...... J A C K S Y N A (!' /i) t; I! 'I

........... .......... . . ......... . . .... . B v F oRces U NSEP.N

,.---- - - - - - - -- ( ' the b reak and move it for-

ward, until its outer end
projects slightly beyond the
end of the deck. As you do
this, bring the right hand in
front of the deck and grasp the
outjogged block by its outer
end, pressing the tip of the
forefinger against the Left cor-
ner, and the base of the third
fmger against the right comer
(Figure 52). You will now
execute a clever variant of the
Veeser-Dingle bluff shift.
"I'll place the first jack
down near the bottom."
Handling the 6ve-card block
52 as if it were a single card,
remove it from the deck and
pretend to insert it into the pack w hile you actually slip it undemeath .
Because of the grip you have taken, the right 6ngers hide the thickness of

53

J A CKSYNA(Ps)cEs .......................... . ........ .. . ..... 39

 <
BY FoRcEs UNsEEN ...................................... .

the block. and the thumb is free to move. Position the block under the deck
ou~ogged for roughly a quarter of its length. Then, with the right thumb:
immediately pull the upper card of the block slightly forward as, with the
tip of the right second finger, you thrust the lower four cards inward and
flush with the pack (Figure 55). The left forefmger can aid in aligning these
cat-ds with the deck, though its role is minimal. A single jack remains
protruding for about a third ofits length from the pack. Move the right hand
aside and turn the left hand over to display the face of the jack. Everything
looks e.xactly as it would had you actually inserted a jack low in the deck.
"The next jack goes in a bit higher; the third jack goes near center; and
the last goes in close to the top." As you say this, insert the next three face-
down cards at dilferent depths in the pack, leaving them similarly Olt~ogged.
The audience believes these to be the other three jacks, but in fact they are
the three aces previously stolen from the ace packet. And the five of
diamonds has returned to the face of the deck. silently attesting to the honesty
of the procedure.
With your right hand, grip the ends ofthe four ou~ogged cards, then raise
the hands, btieBy e-xposing the face of the jack once more. Sin ce the aces
rest behind the jack, their faces cannot be observed (the right hand's posi-
tion ensures this), but the gesture seems good-intentioned.
Lower the deck once more to a horizontal position and, in the action. use
the tip of the left forefinget· to buckle the lowCJTnOst card. (fhis small action
is nicely concealed by the pt•otntding cards.) By buckling the card you
automatically injog its inner ,;ght corner slightly as a brenk opens above it.
Release the outer ends of the outjogged cards and bring the right hand to
the right side of the pack. where you secretly clip the inner right corner of
the buckled card between the right fourth ll.nget· (above) and third finger
(below). This card is the f."lce--up five ofheru'ts./\ \ ove the right hand inward
slightly, further injogging the card (Figure 54). From this position the left
forefinger· and thumb can continue to control the deck whi.lt- lezwing the
clipped card free.
"The four jacks lie scattcr'\.-d in the deck, but cru1 be easilv found s.inC'l'
they ru-e rever-sed. " To emphasize their· placement. ) '0\1 now ~;e_fly spl"i'ad
the pack between your hru1ds. As the right hand moves m\lunJly t-\ghtwru-d
in the action of spreading the cards, the ftngers - with no c~tt. mot\:m -
cany the clipped card along. bcnt•ath the spn-ad (Figlu-e ~C,) . Then. as th~·
left thumb continues to sprt'ad through the~ k. lcr the lett ~~of the._•
40 ........................ . ..... ... ..... .. J ~ l· I.Sl· ,· •(I'S) · ~·.•
 \ .................................... ... av P oR e '~" UN B I.!.~N

54

II

J
!•
I
clipped card slip into the spread approximately five cards above the
lowermost ou~ogged card. Figure 56 is an underview of the action. (Mr.
Earick designed this method for displacing and loading a card into a spread
to eliminate telltale finger motion commonly caused by such maneuvers.)
Stop spreading just before you reach the fourth ou~ogged card, as you do
not wish to expose the three face-down jacks that lie beneath it.
J A CKSYNA (Ps)CES .. . .•. . ..........•.•..........•...•. . ....• . 41
 <
By F0 Rc Es u N s g I~ N .•.. . ..•.....•..•..•.••.••.•..••...•.••
Having displayed the
separation between the
projecting cards, square
the deck back into the lcl't
hand. In doing so, catch a
left fourth -finger break
below the card you have
secretly loaded into I h e
pack; that is, above about
nine cards. (fhe position or
the br·eak need not b e
exactly below the loaded
card; but the situation oFt hut Cltnl in the d eck Hid~ in Ihe act ion of forming
a b r-eak.) Then, with the right lingers, slowly nnd ncl\tly pus h the ou~oggcd
cards flush into the d eck, either· <.JI ut once o r· or'lc ut n time.
To this point, in the eyes of the audience, you hnvc removed the four aces
from the deck and set them aside while y ou lo<:ftl <:d the four jacks and
reversed them at dill'e r'Cnt s pots in the pack . From your· stMdpoint, a great
deal more has been accomplished tuHI the wor·k is nearly done . 'fhc magic
is about to happen in the spmt of u lew r-:e<:onds.
First, you must ptJm oil' the packet nl' l'luxls l,dow tlw br' <'ll l<. Mr. Earick
has developed a n admimbly dir·ed 111cl (,()(11{-,,· tt('('O II) J >litlhing thifl, in which
the Erdnase top fXJm is cxccul<-'tl in tlu.: Hl'lion ol' turning rhc deck face-
down. The r·ig ht hand. pnlm-down, ltppr()tlch t·~ tht· d<·d< (i,om behind and
grasps it by the inner c nJ . ln this 11l'l ic•n. 1h{' 1ip ( 11' tltt• r·i~ ht fourth finger is
slipped into the brca.k at the innrr· r·ig ht t·ornc 1• (J.'it(lll't· (,7). The right hand
grips the deck, (Jngcn• 0 11 I he liKe. t humh t~ ll tlw lutd<. unci tltr'MI it face
toward the audie nce, rig ht edge d ownwtu\ 1 ttnd innt·r· t•fld to y our right.
Simwtancously the lei\ hand tu rn~ palrn inwwxl h nclr•rtttlcf~ the deck in
dealing grip, but with the tip o l'thc li.nu·th liugcq •t •t~ititlltt·d 111 the lower left
comer· (Figtu-e &8). The ldlthurnb 11nd fi.wl'lin~t · · td tltc· upper' ancllower
sides respectively. hold the dn·k ~c·t'l ll'{'ly.
Both htu1ds then rnovc in l\11 i~on t h~ ld\ htu 1d I*'"' ''I'· 1h<· rig ht p<Lim-
down - t-evolving Ihe dec.:It to 11 liwr-d t>Wil. luwi 1,1,ntnl J•l•flit ion . Within this
action, the packet scpanttrd h_y the lwcttlt is pnlr 11t d i 11 th(" r·i~ht hand. The
packet is manipulated tlu·mtg lt prt'SS\11 '{' e'tcrl cd ( 11 1 ,,,. 1, 1,,,., it t' l.' t1Cl:i by the
left and tight ~oUtth tinge•~· ttnd is 1111lllt'\t vc1"C{I 1111t It·• tlar , ,~Itt ltftnd I hrough
n com bination of act ions: 1h<' Ieli f~•lwth lin(:'.I.' ' ' ,.,, A 'P-''"""" tn 1h~ rig ht,
42 ... , • , . • • . • .... . , .. • ..... , • . • • • • • ' • • • • ./II I J( ,\ ' I' N II (1• S) (' ll S
....................................... (\ \ F I l It ~ I s llN ' ,, If N

~
I I

I
I

/
I
/

pivoting the inne1· e nd of the packet r·ightwtu"d; and the leA thumb moves
outward, pivoting the inner end of 1he deck to I he ldi (Figm-c 59, right hand
raised to expose the position).
The instant the packet has been sw\mg into position beneath the palm,
the tip of the right forefinger bends in to press agajnst the outer left comer
of the packet, thus gripping the card s secw-ely by their opposite left com ers
between the forefmger and the heel of the thumb (Figure 60). This grip
allows the other right fingers to remain relaxed, while the foref'mger look.<>
natural curled onto the back of the deck. 3
1
1tmayoccurro some readers that, rather than turning the p.'\Ck in the tn<umerdesaibed,
it could be rotated end over end above the palm-up left hand. While this might seem a
more direct action, the palming of the p;~cket is likely to be d etected during suc h

JA C KSYNA(P S)CES ... ... . . ............ .... . ... ........ .. ... . . 43

BY FoRCES UNsEEN .....•...•• .. •. · ··········· ........... .

"Now it is time for our aces to

play their part." With your right
hand, reach forward and to the
left to pick up the apparent
packet of aces from the card
case. The case makes this task
easy, and its position demands
that the back of the right hand be
turned outward, aiding in the
concealment of the palmed pack-
et. Do keep the fourth-finger
side of the hand tipped down-
ward slightly, to prevent the
edge of the packet from being
exposed.
Cany the ace packet back to the
deck and drop it neatly on top.
"Don't blink! It happens that fast I"
59 ,
Pause very briefly-then perform
a color change a Ia Leipzig: Slap
your right hand flat onto the pack,
secretly depositing the palmed
packet square on top. Immediately
spread the right 6ngers and raise
the hand dramatically to reveal the
near visible change of aces to jacks.
Cleanly spread the foW" face-up
jacks off the deck and drop them
onto the table. Then ribbon-spread
the face-down deck widely to dis-
play the four aces, face-up and
occupying the various positions \ 60
held just seconds before by jacks.
\
a maneuver. The method described above for turning the deck over looks quite
normal and is much safer. Mr. Earick sometimes interrupts the turning action an<l
while the right hand holds the deck face outward, he riffies the \eft ends of the
cards casually off his left thumb, emphasizing that the jacks are lost in the pack.

44 .............. .. . ...... .............. .. . Jtt c KSrs .-. (PS) Cf:'

hree aces are openly bw·ied at different depths in the
deck. The fow-th ace is dropped face-up onto a small
f~,.ce-down pile ofcards. This pile is held briefly over the
pack, well above it, and a magical gesture is made. With
this, the face-down cards of the pile instantly transform
into face-up aces. The three buried aces have, in
startling fashion, sprung &om the deck to join the fow-th
sequestered ace, swapping places with the indifferent
cards I Sh01-t, sweet and visually surprising.

Like the previous tl; ck, this is a fme example of elegant

structuring, in which a rather complex goal is achieved
through remarkably direct and ingenious means. No
real arrangement of the cards is required, though it is
best, when you begin, if one ace is positioned roughly
a third from the top of the deck, and the other three lie
scattered below it in the pack. Even this minor prepa-
ration is optional, as will be seen. One more thing: While
holding the deck face-up, install a mild concave bridge
down its length.
BY FoRCES UNSEEN ..•••.. • .•....• . ·•·•·•·•••·•··•••••·•• ·

Begin by spreading the face-up deck &om left hand to right, and remove
the aces as you come to them. Break the spread at each ace in turn, taking
it below the right-hand portion and depositing it face-up on the table. Place
each new ace onto the previous one, forming a short spread. When you
reach the last ace, set it on the face of the tabled spread, as you have the
others; and at the same time, while misdirecting away &om the left hand,
form a fourth-finger break under the third card &om the face of the left
hand's packet. (This packet should be roughly a third of the deck.) After
setting down the fourth ace, bring the right hand's spread back to the left
hand, and smoothly flip the spread face-down onto the left hand's face-up
packet. Immediately bring the right hand palm-down over the deck, quickly
square it and, without hesitation undercut the cards below the break,
carrying them to the left. With the left lingers, flip this packet face-down
and replace it under the deck, holding no breaks. This variety of Braue
reversal places three face-up indifferent cards approximately two-thirds
down from the top of the face-down pack. Perform this procedure casually
as you introduce the effect, drawing no attention to your actions as you talk.1
With your right hand, reach to the table and pick up the face-up spread
of aces by its ends. At the same time, while the spectator's eyes follow this
action, push over the top card of the pack just enough to form a left fourth-
..
finger break beneath it. Bring the right hand and its aces back toward the
deck and execute the elevated addition (pp. 30-33), secretly adding the top
card of the pack face-down under the spread.
After squaring the right hand's spread, smoothly draw the face-up aces
one by one &om the face of the packet square onto the deck, placing the

'Of course, other methods can be used to reverse and position these three cards.
Three procedures that come immediately to mind are a half pass, Krenzel's
mechanical reverse or Mr. Earick's rotary reverse (pp. 19-21). Any of these
sleights, followed by a simple cut, are perfectly acceptable means to our desired
end. If it is not convenient to position the aces in the pack as described above,
one of these alternative reversals may be more practical. Also, one can still use
the Braue reversal in such Stl'ictly impromptu circumstances. After placing the
aces on the table, square the face-up deck in the left hand and catch a break under
the third card from the face. Undercut roughly two-thirds of the deck and flip it
face-down onto the face-up portion. Then undercut all the cards below the break.
flip them face-down and return them under the deck. While these procedures are
less economical in action than the initial o ne, they are certainly serviceable.

46 · · · · · · · · · · · · · · · · · · · ..................... L oN ELY A T THE ToP

go

. .... .... ... . .... . . . . . . .. . . . . . . . . . . . . . . BY FORCES UNSEEN

fourth <.~.ce, with the face-down indi1ferent card

hidden below it, onto the rest. You must now
fonn a break above the three reversed indiffer-
ent c<Lrds in the lower half of the deck. This is
easily done. First, adjust the deck to a raised
position above the left palm, thumb on the left
side, forefin ger at the front end and the other
fingers on the right side. Rotate the left hand
palm outward, turning the top of th e deck
toward the audience and the inner end
downward. Then tap it once or twice on the
table, squaring it (Figure 61).
6/ "There are several ways to bwy the aces in
the deck." As you say this, rotate the left hand
thumb upward, tur·ning the upper end of the deck outward while
1·ctaining the pack in an upright pos ition. If'you now relax the hand's

grip on the cards, letting them rest on edge upon the fingers, the mild
br idge in the p ack will cause it to split both above and below the
reversed card s in the Go ttom third. Catch a left thumb break
immediately above th e three reversed c<Lrds. The right hand can aid in
forming this break (Figure 62), but there should be no hesitation or
fumbling; and as little attention as possible is focused on your actions.

L ONI!.!.Y 111' TilE

I
ToP ........................................... 47
62
BY FoRcEs UNSEEN ............... . .. · ····•· . ............ .

63

"The simplest way is to cut them into the center." Here you do an
Endfield-style slip cut: You continue to hold the deck on edge, in a vertical
mechanic's grip, left forefinger positioned at the front end of the pack. The
tip of the left second finger should contact the top ace near its lower front
corner. Then, with the right hand, grip the packet above the break by the
opposite rear corners - thwnb on the upper; second finger on the lower-
as if commencing a Hindu shuffie. Then, as you apply. light pressure with
48 .. . ................ ............ ... ... . .. L 0 N ELy A T T /{ E T0p
............... . ..... . ................. Bv FoR c Es UNsEEN

the left second fingertip to hold back the top ace, draw the u pper portion
of the pack straight back and from under the ace (Figure 63). In a continu-
ing action, turn the left hand palm-up, letting the ace settle onto the bottom
portion of the deck (Figure 64). If' done properly, it appears as if the right
hand is undercutting the lower two-thirds of the pack.2
Move as if to set the right hand's packet onto the left's, completing the
cut - but stop before you actually place the packets together, as ifyou have
suddenly changed your mind.
"But when the aces arc face-up and aJI together. it is too easy to 6nd them.
It's much more interesting if they are face-down and separated in the deck."
Set the right hand's packet on the table, sidewise in front o f you. It appears
to be a face-down pile of cards; but in truth, under the top card are hidden
three face -up aces. The audience believes that all four aces lie face-up on
the packet in y our left hand. though only one ace is there, with three face-
up indjffcrent cards below it.
Your right hand should still grasp the tabled packet by the sides . Cut
approximately half of the tabled packet forward; then cut about half of these
cards forward again, forming thr-ee piles. Continuing the cutting action. lift

-
•
65
' In the original Endfield slip cut the fo~finger was curled around the front end of the
p.a.ck to hold back the top card. 1\'\r. Earick ~mmc.-nds t ha..t tht> ~ond finger ~rform
this task. aa deacri~ . This ~nnit3 the lt>ft hand to m.llntain a more ~lax~ posru~.
avoiding an awkward looking. claw.Jike grip. The.- foreflngc.-r. at the front of the deck.
aida only i.n k~ptng tht> top card sqW~.~"e w1th the lower packet as the cut is made.

LONBLYATTH£ ToP .... .. ...... ... ..... . ..... . ..... ... .. .. .. .. 49

 c

Bv FoRcEs UNSEEN •.............••.........• .•. ........

the top four cards from the third pile and place them to the right of the
other three (Figure 65). Cutting off these four cards is not difficult,
given the natural bridge between the back-to-back groups. Just use a
light touch. (Though it is a less desirable approach, you could also riffie
the thumb up the rear of the packet until you reach a face-up card.)
This procedw-e should appear to be nothing more than the cutting offour
piles of varying sizes. The last pile consists ofthree face-up aces with a face-
down card over them.
Now bring the right hand to the inner end of the left hand's packet and
grasp it by the opposite corners. Then raise both hands simultaneously,
turning them palms inward. In doing so, the right hand lifts the packet to a
vertical position (Figure 66), with the ace directed toward the audience.
With the left hand, regrip the packet in dealing grip and immediately begin
to spread the vertical cards into the right hand. After spreading about six,
gradually lower the hands, timing your actions so that the cards are once
more horizontal by the time you reach the last four, which are face-down.
The ace is in sight ahnost to the end, at which point the backs of the four
face-down cards come into view. This subtle display reinforces the illusion
that the four face-down cards are all aces.
Separate the face-down cards from the face-up spread, holding them
fanned in the left hand. Drop the top card of the four onto the inner pile,
the largest of the lot. With the right fingers, square the right hands spread
and set this packet face-down onto the inner pile, apparently bwying the
first ace.
Drop the top card of the three remaining in the left hand onto the inner
pile. Then, with your right hand, pick up the middle pile and place it onto
the inner pile.
Drop the top card of the left hand's pair onto this pile and, with the right
hand, set the outer pile onto the rest. You have just seemingly buried three
of the aces at di£ferent spots in the pack.
Snap the left hand's last card face-up, showing it to be an ace, and drop
it, still face-up, square onto the four-card pile to your right.
Now, with your right hand, pick up this pile and place it in left-hand
dealing position. With the right hand free again, u se it to spread the
remainder ofthe pack in a ninety-degree, rightward arc, keeping a few cards
bunched together at the top. Thanks to the shape of this arc, the cards at
the top of the spread will be turned with an end toward you (FJgt~.Te 67).
50 ........ . ............................... L 0 N ELy A T THE T0 p
...................................... . B y F 0 R c F s L' =-- s F F N

66

67
Remove the right hand from the spread on the table, letting it be seen
empty as you bring it palm-down over the left hand's packet to grasp it by
the ends. Remove the packet from the left hand and hold the cards about
ten inches above the top end of the spread.
"There is something strange about these aces, though. Once separated,
they refuse to remain apart. Watch." Snap your fingers or make some other
magical gesture. Then, with the left fingers, quickly backspread the lower
three cards of the right hand's packet, forming a fan of four face-up aces
(Ftgure 68).

LONELY AT THE Top ...... .. ................................... 51

Bv FoR ces UNSEI!. N . ... ...... .. .... . . . ...... . ... . ........ .

_ . /.
/ '
\

68
Pause briefly for the cflcct to register; then, with the right hand, remove
the do uble card from the face ofthe fan (an ace with a face-down indi.lferent
card hidclen beneath it) and set it square onto the top end of the spread.
Rc-pe;U thi.!f action with the remaining three aces.
While d~ing this trick, Mr. Earick observed that in many situations
a.n uncompleted 11lip C\Jt, lJUch as that described above, can be substituted
for a top-card cover pasl'l w ithout lessenjng the overall effect. Since a slip
C\Jt ix more convincing in many magicians' hands than the more demanding
cover J'M'I, this obm:-rvati(>l'l is worth keeping in mind.
'1() aprm:ciat.c junt h<JW magical this effect appears, you must first run
through it with cards to impress yourself; then master it and take it to an
o.udien~. It llM tl•<il CJUWity of directness that scores heavily with the public.

6't ....... ~ ...... ~ ......... ........ ..... .. . L oNe D y 11 T T 11 E T oP

chosen card is clearly lost in the cente1· of the pack,
only to be found a few moments later in the card
case, which has remained on the table in full view
from the start. Over the last few decades this plot
has become a standard. Mr. Earick's treatment of it,
however, is 11Qt standard. Because of his meticulous
at-the-fmgertips approach, this handling will baffie
the most knowledgeable -and its basis is a new
center steal that is capable of wide application. The
l:eat appears so impossible, it is wise to have the
chosen card signed, as suspicions of duplicates are
otherwise likely.

Have the empty card case lying to your left on the

table, the side with the thumb-notch turned down-
ward. The top end of the case is turned to the right
and the case flap is dosed.
Have a card &eely selected. Ask the spectator to
sign the card on its face, and as he does so, square
the deck face-down in left-hand dealing grip. When
,
BY FoRcEs UNsEEN ....................... .. ............. .

the spectator has completed his signature, take the card &om him, holding
it face-down by one end, and insert it into the front of the pack, near center.
While gripping the deck at the outer end-left thumb at the far left corner,
left forefinger at the far right comer- use the right fingertips to push the
selection flush. However, in doing this, press mainly with the right second
finger, while curling the forefinger onto the back of the pack. This causes
the card to enter the deck at an angle, so that its right inner comer breaks
through on the right side of the pack. On completing this task the right hand
is automatically in position to grasp the deck by it ends &om above. In the
same action place the tip of the right fourth finger on the outer right corner
of the selection where it protrudes slightly from the front of the pack. The
right thumb presses against the inner left comer of the card.
Having set the selection into anglejogged position, you are very nearly
ready to perform Mr. Earick's broadside center steal. H owever, it is recom-
mended that you delay the steal action, first performing a small diversion
that seems to make any control of the card out of the question: The right
hand, which still holds the deck by its ends, carries it to the table and
performs a diagonal ribbon-spread, traveling from upper left to lower right.
The forward motion of the right hand, just before beginning the spread, is
used to conceal a much smaller action: Move the fourth finger rightward a
short distance, swiveling the selection to a rightjogged position in the deck
(Figures 69 and 70. exposed from beneath) .

69 70
54 · · · · ·············· .. . ............. . .......... . H oust G u esT
 ... . ..... . ... .......... ... ..... ... ..... B y F 0 R c t: s u N s I~ ·~ N
H aving no-w spread the deck, leave it on the table for a ~ew seconds a~
'
'
'··
you make some pertinent remarks to the audience. Then, with the leA: h~nd ,
. •,
lift the outer end of the spread, fingers underneath. Rest the tips of t·he n g ht
fingers lightly on the inner end of the spread to steady it, and smooth~ly scoop
up the cards. If this is done with reasonable neatness, you will find the joggt.-d
selectio n still protrudes &om the inner side of the pack. This dever· sb·ata-
gem, while far &om new, is less widely known among magicians than it

.I
deserves, and is quite d.isarming. 1
With the right hand, grip the pack by its ends, placing the second
'• and third fingers at the outer right corner, curling the forefmger on top
and centering the right thumb on the inner end. While the right hand
controls the deck, the left fingers can square any uneven cards lying
below the sidejogged selection. After this, rotate the right hand until it
is thumb up, turning the inner end of the deck upward and the
sidejogged card toward you. Turn the left hand thumb up as well, and
take the pack by its ends in a grip that closely mirrors that of the right
hand: The left thumb rests on the upper end of the pack at the outer
, corner; the left second and third fmgers lie beside their right-hand coun-
•I
terparts on the lower end, at the outer corner; the left forefinger is
curled against the face of the pack; and the tip of the fourth finger
contacts the lower corner of the sidejogged selection (Figure 71).
The right hand now shills its grip from the ends to the sides of the deck,
with the tip of the thumb contacting the inner side of the top portion near

\ /
) 71
1
In More Cali) tHanipuialionJ, No. 1, Jean Hugard credits the above jogging maneuver
and the spread delay tactic to Fred Braue. See pp. 47-48.

If 0 us li GuEsT ......... . ................. .............. .. ..... 55

 <
BY FoRCES UNSEEN ........•...•.••..............•..•.....

72
the left corner, the forefinger curled lightly onto the back of the pack,
and the other fingers aligned along the far side, the second Enger
opposite the thumb (Figure 72).
Having assumed these grips you are ready to steal the jogged
selection with one smooth maneuver. The steal is executed as the hands
turn together-the left palm-up, the right palm-down-bringing the
deck to a horizontal, face-down position. Using this larger motion as
cover, extend the left fourth Enger downward and slightly forward
while maintaining pressure against the index corner of the jogged card.
As you do this, resist the tendency to move the left third ftnger from
the end of the pack. This Enger serves as a pivot post and must remain
on the inner right corner of the deck. The action of the fourth finger
causes the selection to pivot inward around the third finger until it
reaches a position under the right hand and parallel to it (Figure 73).
When this maneuver is completed, the right edge of the pivoted card
should come to rest against the right palm, lying along the hypothenar,
the long muscle that lies at the fourth-finger side of the hand.
You should be aware that, from your extreme left, the card can be seen
as it is swiveled from the deck. If there are spectators on that side, a slight
turn to the left is necessary to conceal the maneuver from them. The same
concern for this angle applies during the later pahning and loading proce-
dures. Asking someone on your left to select and sign the card gives you
good motivation to turn toward him, thus protecting your weak side.
As the selection is swung out of the pack, the right hand moves right-
ward, squaring the sides of the cards. The fingertips move along the far edge
and the thumb glides over the near edge (Figure 74). In the process the
56 ............................................. . HousE GuEST
............ . .. ... .................. . .. Bv F oR c Es UNs EEN

73

74
thumb engages the left edge of the selection, catching it in the crease of the
outer joint and trapping the outer end of the card between the thumb and
hypothenar. In a smooth, deliberate squaring motion, the right hand
continues to the right, secretly carrying the selection with it (Figure 75) until
the card is clear of the deck. This can and should be done while the right
fingers maintain contact with the far side of the pack.
The card is now caught in modified Tenkai palm. Once the card is
palmed, halt the right hand's movement and, with the left hand, tip the left
Ho use G uesT ... . .. .......................................... 57
BY FoRcEs UNSEEN .....•.•...•.•.•••••••••. • .. ·••.•.••..••

75
end of the deck upward
while you maintain the
right hand's grip on the
sides. Then release the
deck &om the left hand.
This leaves the pack at
the right fingertips, lying
at an oblique angle to the
fingers -a position that
subtly negates the possi-
bility (albeit too late) of
your palming cards (Figure 76). At this point the right hand is brought
lightly to rest on the table, in a relaxed posture.
When the left hand leaves the pack, it does so to pick up the card case.
It approaches the case palm-down and grasps it by the ends, fingers on the
left, thumb on the right. In picking it up and moving it inward, the hand
turns palm-up. revolving the underside of the case upward and the top end
to your left.
As the left hand's action misdirects from the right hand. let the deck settle
face-down onto the table and release it. Then move the right hand to the
case, secretly introducing the outer left corner of the palmed selection
beneath the inner right comer of the case (Ftgure 77). lnunediately bring
58 ......................... . . . .............. .... H ous E G u EST
......................... . ........... . . B v F o R cEs UNsEE N

77

the tip ofthe left fourth finger in contact with the outer end of the card and
swivel the selection clockwise until it is under the case, lying parallel with it
(Flgures 78 and 79). This action is the reverse of that just used to swivel the
Ho usE GuEsT . . . ... . .. .. . .. ... . .. . . . .. ... . .. ... ......... . ... . 59
Bv FoRcEs UNSEEN ..•.... . ..•.... . ....••.. . ... . ..••..•...

card out of the deck. However, it will likely be found the most difficult
element of this sequence. The following details will aid you in learning the
move: Extend the left fourth finger fully to the right, so that the fleshy side
of the finger, not just the fingertip, contacts the face of the selection. Move
the fourth finger leftward and forward in a small arc, pivoting the card
around the tip ofthe left third finger, which rests near the inner right corner
of the case. At the same time, move the third finger about a quarter of an
inch away &om the case. These small finger motions in combination will
swing the card under the case and parallel with it. Keeping the nail of the
left fourth finger trimmed fairly short is also helpful, for the flesh of the
fingertip must remain in contact with the card throughout the maneuver.
The actions of the third and fourth fmgers are not large (which is why the
sleight is so deceptive), but discovering the precise movements that deliver
the card beneath the case will require practice.
The card should not be brought completely under the case, as there
is too great a chance that the front edge will be accidentally exposed
during the loading action. Instead, swing the card beneath the case, but
leave an eighth to a quarter of an inch projecting from the inner side
(Figure 79 again).
When mastered, this swivel-load from the right hand to the case takes
literally a second to execute. Thus, the right hand does not linger around
the card case. The instant the card is in position beneath the case, the right
fingers wiggle briefly above the case, or the hand makes a slow graceful wave
over it, in a magical fashion. Then the right hand grasps the case by its sides
from above, the right thumb pushing the card square under the case in the
action of taking it.
Smoothly tum the left hand palm-down and, with the thumb, flip open
the top of the case, pulling the flap straight outward. Keep the mouth of the
case tumed slightly toward you, so that the spectators cannot see inside.
Now extend the ftrst two fmgers of the left hand and insert the forefinger
into the mouth of the case while slipping the second fmger below the flap
(Figure 80). With the tip of the latter fmger, contact the face of the hidden
carcl. Then, using a brisk leftward and slightly upward motion, draw the
card smartly from beneath the case (Figure 81), creating the illusion that
the card is coming from inside. Snap the card face-up, showing it to be the
signed selection, and conclude.
60 .......... ... · · · · · · · · · · · · · · · · ... .. ............ H ouse G ues T
.... ... . ... .. . ... .... ..... .. . .. . . . . . . . . B y F ORCES U N SEE N

80

81
It is perhaps stating the obvious to observe that this center steal of Mr.
Earick's can be used simpbr to palm the selection &om the deck, or to convey
it secretly to the bottom of the pack. The same procedure described for
loading the card under the case can be used to load it onto the face of the
face-down deck. The right hand moves to the right, squaring the sides of
the deck as it steals the card from the center; then moves back to the left to
load the selection under the deck as it continues to square the cards.

flousE GuEsT .... . ........ . .. . . . ... . .. . .................... . . 61

 <
BY FoRCES UNsEEN •................................ . •....

Ofcourse, the selection does not have to be inserted into the deck before
executing the center steal. The card can be peeked at or any other selection
procedure used that sets the card into the required sidejogged position.
There are two important points to be admired about this method for steal-
ing a card from the center of the deck and conveying it under the pack or
case: FirSt, the entire procedw-e is performed entirely at the fingertips in a
slow, meticulous fashion that seems scrupulously fair. Second, the secret
finger-action that pivots the card into position for palming, because it is so
small, is completely hidden from the audience. This small movement makes
it seem that covert manipulation is impossible. The technique is a valuable
one, worth the practice necessary to master it.
Mr. Earick devised this and one other center steal twelve years ago, after
his first reading of Edward Marlo's booklet, The Side SteaL Though both
steals rely on the same principle of the fourth-fmger swivel, they differ in
technique by exactly ninet' degrees, as will be seen as we proceed to a
description of the longitudinal swivel steal.

62 ............... .. ............. . .............. . HOUSE GUEST

--

his center steal, as just mentioned, is a variant of that

taught in the preceding trick. Since much of what was
said about that sleight is true of this as well, the reader
is advised to study the previous technique before tack-
ling this one.
While Mr. Earick's broadside center steal is executed
with the deck held by its ends, the longitudinal swivel
steal is done with the deck held by its sides, in dealing
grip. Because of the mechanics of the sleight, the
selection is delivered to the right hand in position for a
longitudinal Tenkai palm.1
The Tenkai palm has (since its inception, I sup-
pose) suffered a reputation of being too angle-prone
to be practical-this despite the well-argued and

1
This grip is also called a longitudinal angle palm. It was first
suggested in print by Edward Marlo in his 1957 booklet, The
TaiJkJ Palm, pp. 10-ll. During that same year, in Switzerland,
Piet Forton independently developed the identical palm grip and
a number of handlings and applications for it. Five years later
he published some of these inMngifdK Wdi, Vol. 11, No.5, Sept.-
Oct. 1962, pp. 149-152.
 q

BY FoRcEs UNSEEN . ............... .. . .. ... .... . ......... .

substantiated defenses of a nwnber of performers who use the palm. Thus,

when one talks of palming a card end.vidt in Tenkai-style grip, most magi-
cians quickly relegate the idea to the delusions ofarmchair hobbyists who,
if they perform at all, restrict themselves to working for a single spectator
seated on three cushions that provide the same line of sight enjoyed in a
practice mirror. If such were the case, I would not be taking space to detail
a sleight that relies on just this palm. In fact, when properly executed, the
longitudinal Tenkai palm is far better protected from exposure than is
commonly believed, as will be shown.
The idea of applying the longitudinal Tenkai palm to a center steal has
been examined by a nwnber ofexcellent minds over the years.2 Mr. Ecuick,
in his handling of the concept, applies the fourth-fmger swivel act ion
explained on page 56. Here are the details:
Begin by having a card peeked at in the center of the deck. That is, hold
the deck face-down in left-hand dealing grip and raise the hand, br·inging
the pack to a vertical position, ~ace toward the spect-cltor. With the tip ofyow·
right ftrst or second finger, contact the upper right comer of the pack and
riHle the cards off the fingertip until the spectator asks you to stop. Pull the
comer of the pack open at the r-equested spot and let the spectator sight the
index ofhis card (Figure 82). As this is done, tighten the tip oF the left fourth
finger against the lower r·ight comer of the pack, catching a flesh bt-eak below
t he chosen card. Then release the right finget-'s pt-essur-e on the corners of
the cards, letting the break close at the upper end oF the pack. Lo"vet· the
left hand, returning the deck to a face-do'.vn, h01izontal, de~Jing position.
Bring the right hand palm-down over the pack and gr;lsp it by the ends
to square it. The nex:t action is that of a standard side steal: As soon as the
right ftngers contact the front of the deck , conce<Jing it, pull down with the
left fourth fmger, widening its break so that the tip of the f\.ngl.'r· can enter it
and contact the inner· right corner· of the selection above. The lour·th linger

2The earliest I am aw;u·e of was Rot,"Cr Crosthwai te. whose w o1·k o n the lm18itudin;J
Tenkai palm (along with that ofJ ohn Gilliland) ~!X"'u·ed in I"b.:· (,~, ;\:' :1 series. :;t:u·t1ntr
in the January 1965 issue (Vol. 20. No.9: see pp. 2-f0-2-H). An ;1pp1"0.·wh by J .K.
Sclunidt can be found in & mi', Vol. 3-f. N o. 12, Aug ust 1910. pp. 523-525. ll:m:v
Lot·ayne describes another b.Y Ken l<renzd in ~(~m1CirM•r:v41Vt1l\mt~ (J1p. 1'12-
194); and still others by Jon R.·u:herbattmer (CmJ 1-iitM¥, pp. til ..()8. t :u,l t l!:r.w IJ.
pp. 158- 164) aJ,d Justin H igham (l tt1ityCIIl1Sfrt,~U.· . pp.. 3 :u1d 5) haw l.x~n publislw,\
in t-ecent years.

64 .. .. ........ ............ Tut: Lo .Y GIIT/1/.Y .~ l. S 1r t n :1 ,': n ; 11

- .... . ..... .. .. . .. ...... . .. .... . . . ..... . B v F oRcEs UNSEEN

82
will now slide the sclecrion 11·om the deck; but rather than angle or sidejog
it slightJy. per-t he usual procedw'e, the fowth finger swivels the card counter-
d~·wise ltnti.l it lies at 1-ight angles to the pack at the inner end. This is done
by tl.uly e..-x:~nding the fowth finger to the right. As this occurs, the left second
ruld third fingers ease away f1:om the side of the pack, allowing the sidewise
mon'ment of the card; but as soon as the selection has been surely started
on its jow,1ey. the third fingertip moves in against the pack again, serving
as pivot post t()l' the swiveling card (Figures 83 and 84). It is the combination
of small actions by the left third and foW'th fmgers, working in opposition,
that makes possible the relatively large rotruy motion of the card. As the card

83
Tne LoNG IT UD ! Nt! L S 11'1 /VEL S Tt:11 L ........................ . . 65
 4
BY FoRcEs UNsEEN ...................................... .

84
tums, its outer left corner is swung past the right thumb, which rests at the
left inner end of the pack, until that comer projects from the rear of the pack
(F'JgUre 85).
This secret maneuvering of the selection occurs swiftly, in one smooth
swiveling action, and positions the card perfectly for the right hand to take
it into longitudinal Tenkai palm. As the left fourth finger completes its task,
the right end of the selection should butt lightly against the right hypothenar.
Ifyou now slide the right hand to the right, squaring the ends of the pack,
the right thumb soon contacts the left end of the selection and catches it in
the crease of the outer joint. As the right hand continues its rightward
squaring action, it carries the selection with it, caught by its ends between
the thumb and the heel of the palm (Figure 86). When the right thumb
reaches the inner right corner of the pack, the palmed card will have
completely cleared the others. At this point the thumb applies gentle
pressure, bowing the palmed card concavely across its width.
The card remains in longitudinal Tenkai palm for only a moment. The
right hand moves back to the left, still squaring the ends of the pack. In doing
so, the outer left com er of the palmed card is slipped under the inner right
corner of the deck. The card is now swiveled onto the face of the pack in
the following manner:
Raise the deck to the left fmgertips. Then bring the fleshy side of the left
fourth fingertip into contact with the left end of the palmed card, and pull
leftward with that fmger as you push inward with the left third finger against

66 .. ... ................... THE LONG I TUDINAL S lf//VEL ST6'AL

 ....................................... BY F oR cE s UNSEEN

the outer edge ofthe card.

These combined actions
swivel the card clockwise
onto the face of the pack.
The fourth finger does the
lion's share of the work.
The th ird finger moves
the shorter distance, serv-
ing mainly as a pivot point
(Figures 87 and 88). The
dynamic of this replace-
ment is identical to that
described on pages 58-60.
I£ in the beginning, the
selection is secretly ma-
neuvered to an injogged
position in the pack, the
longitudinal swivel steal
can be accomplished with
the pack raised to the left
fingertips. One efficient
way to achieve this in-
jogged position is to have
the selection drawn from
the pack, then to insert it
or have it inserted into the
outer end. You now curl
the left forefinger under
the pack and raise the
cards to the left fingertips;
86 then bring the right hand
palm-down over the pack and, with the right fingers, push the card
seemingly flush. However, it is actually angled to the left, causing the
inner right corner to project from the right side of the pack. The outer
left corner of the card will also jut sl ightly &om the far left side of the
deck. The left thumb immediately engages this corner and pulls the card
inward another half inch. The left fourth finger can now contact the
Tue LONGITUDINAl- SWIVEL STEAL ......................... . 67
BY FoR CEs UNsEEN ...................................... .

87

angled card (Figure 89) and push it into alignment with the pack, but
injogged for· at least a quarter of an inch (FtgUre 90).
Ifyou are fa.m.ili.arwith Bill Simon's taps control,.sit is also perfecdy suited
for our purposes, particularly since this sleight is done ,,;th the deck raised
above the left palm. Briefly, the selection is inserted into the outer end of
the pack and left ou~ogged for about half an inch. Be,-el the cards quickly
from side to side. loosening them; that is, lessening friction between them.
3Ref. Kaufman's CAn.>ma.qi.r. pp. 52-5.3. This control is a refinement of a much older
conrrol, •The Push Location·: which appears on p. .3.5 of Hilliard's Gm.:lt:r . If~·.
68 ..................... ... T H £ L o s G1 Tl 'DI SA L • wn·sL r£.1 L
... . . .... . . . .... ....... ... . . . . ..... .. .. B v FoRcEs UNsEEN

89

L 90
Then, with the left forefinger, give the projecting end of the card a sharp
tap, pushing it into the deck. This tap, though, is delivered with enough
power to send the selection not only into the deck, but through it and out
the back, so that it is instantly injogged.

THE LONGITUDINAL SWIVEL STEAL ... ............... . ...... . 69

BY FoRc Es UNsEEN .. .. ........ . ..... . ................... .

Having maneuvered the

card into an injogged posi-
tion, move the right hand
from the deck to gesture as
you talk. Then bring it
palm-down over the deck
to square the ends. Next,
press the tip of the left
fourth fmger up against the
inner right corner of the
injogged card (Figure 91)
and swivel the selection into
position to be palmed, as 9/
explained above.
As in the broadside center steal, the angle most open to exposure is on
your extreme left. Notice, though, that the selection is only b1·icfly in longi-
tudinal Tenkai palm, and is always close to the deck. Thus, the deck and
hands all provide a great deaJ of cover for the mancuvcl' and, if'you tilt the
right side of the pack downward a bit, the sleight is nc:ttly conce<llcd from
even the left, making this steal and replacement quite pradical.

92
70 . ... ... . .. .. ............ Tu £ L o N<i 1 fii!J 1 N " 1• ..'i w 1 v 1-:1• •'>· lt-.llf,
-
. ......................... .. . ...... .. . . Bv F o ~t c t~s UN s ~eN

It should also be mentioned that the swivel action used in this sleight can
be used as a rapid one-handed lapping maneuver. While holding the deck
in left-hand dealing grip, and having procured a left fourth-ftnger break
under the selection, rest the left hand on the near edge of the table, with the
fourth finger lying just below the tabletop. You can now swivel the card &om
the center of the pack (Figure 92) and let it drop into the lap. The fingering
is identical to that taught above, and the action is completely covered by the
table. Nevertheless, the right hand should provide some small misdirection
by, say, picking up or moving an object on the table.
The combined actions of the left third and fourth fingers that make the
steal and replacement possible will require concerted practice to master. But
when the knack has been gained, the card swivels out of the pack and, later,
under it in a wonderfully smooth and efficient manner- all without large
cover actions or detectable fmgerwork. The reader can rest assured that the
effort required to attain pro6ciency with this sleight will be amply repaid.

THE LONGITUDINAL SWIVEL STEAL .......................... 71

 g

omeone peeks at any card in the pack and remembers it.

The cards-unshuffied, uncut, unmanipulated in any
way -are set on the table. The performer explains about
a nerve center in the pahn of the hand that, when pressed,
can stimulate the latent psychic powers of the brain. He
presses this psychic area of his pahn while the spectator
concentrates on her card. He then brings his hands
together. Though they have been seen clearly empty, in the
blink ofan eye a face-down card appears at the fingertips.
The spectator is asked to name the card she was thinking
of. The face of the card is then displayed. It is the exact
physical counterpart of her mental image.

The strength of this mystery lies in the simplicity of plot.

The effect is easily understood and visually startling.
Beneath the veneer of simplicity lies an elegant structure
of original sleight-of-hand.
Hold the deck in left-hand dealing grip and raise the
hand until the face of the deck is turned fully toward a
spectator. Then riffie the upper right come,rs of the cards
p

. ......... . ....... . ....... .... . ....... . Bv F oRcEs UNs EE N

off your right first or second

finger until she cal1s stop; or
have her use her thumb to
push open the corner of the
pack. In either case, have her
sight the index of the card
she has singled out and let
the deck snap closed - but
not before secretly securing a
left fourth-finger break
93 below the selection.
"Please don't forget the
card you just saw, for in a
moment 111 ask you to get a
clear picture of it in your
/ thoughts." If you wish, you
can indulge here in a bit of
understated post-peek han-
dling. As you are talking, you
casually tip the deck up on its
right side while maintaining
left-fmger contact with the
right edge of the pack to
retain the fourth finger's
break. Now perform Max
Malini's deck-flexing ruse,
squeezing the sides of the
deck to bow it along its
length, first in one direction,
then in the other (Figures 93
and 94). Mr. Earick adds a
95 final convincing touch to this
procedure. He curls his right
forefinger onto the back of the vertical pack near its outer end, and gently
riHles the cards off the right thwnb, letting them fall loosely onto the left hand
(Figure 95). Given a little practice, you will6nd that the left fourth finger
can hold its break throughout these brief exercises. Just keep the fingertip
THOUGHT MANIFEST .•.... • ...... .. . • ••...... •.. ... ..•.. ..... 73
BY FoRCES UNSEEN .• .. •.•..•.. ...• ..• .. •.••.••.••.••...••

in contact with the sides of the cards and a break will be maintained. Do
not call attention to these actions. Do not look at the hands and cards as you
flex and riffie the pack. It should seem that you are merely toying with the
cards absentmindedly as you talk.
"Have you ever heard of chakras?"As you ask this, continue to misdi-
rect away &om the pack and raise your left hand to chest levet holding the
deck face-down. Then, with just the left fingers, execute the first action of
the longitudinal swivel steal (pp. 65-66), secretly pivoting the selection &om
the center ofthe deck to a crosswise position at the inner end. This maneuver
is admittedly more difficult when done with one hand alone, but it is perfectly
practical. Instead of depending on the right hand to control the pack, the
left thwnb and forefinger at the outer comers keep the cards steady while
the fourth and third fingers swivel out the selection. Bend the hand in a bit
at the wrist, turning the tips of the fingers toward you and the back of the
hand outward, to conceal the 6ngers' action. (If earlier you have ri!flcd the
cards into the left hand, as explained above, do not square them perfectly.
Some slight misalignment provides further cover for the swivel maneuver.)
"East Indian mystics say we have seven centers of power called chakras.
One is located at the top of the head, one in the forehead, another· in the
throat, then the heart, the spleen, the solar plexus and the base of the spine."
As you name the seven areas, you point to them, using your right hand to
gesture toward the head, forehead and throat. But when you mention the
heart, use your left hand to tap your chest, and in doing so, secretly push
the sidewise selection into the deck, aligning it with the left fingers, in posit ion
to be palmed (Figure 96). Without breaking rhythm, with your right hand
point generally toward your spleen, stomach and the base ofyou1· spine.
"Certain Chinese physi-
cians claim there is a nerve
center in the palm of the
hand." Here you display
your palm-up right hand
and point to it with the left
forefinger. This gesture
serves a subtle function. As
you extend the forefinger
to point, you also use the
left thumb to lift the &ont of 96
74 · ·· ···· ·· ······ · ·· · · · · · ··· · ·· ·· · ·· · .... J'I/OII(l/11 A1A !V II'I< ,\' I
...
. ............. .. . .... .. . .. . .. .. .... . ... By F O R CES UN S I~ I!N

97
the pack away from the palm. This gives the audience a clear view of the
face of the deck and your empty palm below it (Figure 97). It is a delight-
ful moment. Within the context ofa natural gesture the audience is allowed
to see that all is as it should be; yet at the same time the selection is virtu.Jiy
in classic palm and the sleight can be completed in an instant.
When using this subter-
fuge, you must guard against
exposure of the palmed card
to spectators on your right.
This angle problem is solved
by pointing the outer right
corner of the pack toward the
head of the rightmost person.
This done, you can be con£1-
den t that the palmed selection
remains a secret.
"This nerve center is di-
rectly connected to the chakra

II in the forehead." As you are

saying this, bring the right
hand palm-down over the
deck, grasp it by its ends and

C'~
move it forward while the left
hand retains the selection in
98 classic palm (Figure 98).

THOUGHT MANIFEST ............•... • .•••..••.•.•...........• 75

 -
Bv F oRcEs UNsEEN ...................................... .
Because the right thumb cannot contact the inner end of the cards below
the selection, you must curl your second, third and fourth fingertips under
the front end of the pack to support these cards. Casually set the deck face-
down on the table. All this is done while you talk to the audience. No
attention is given the hands until the deck is out of them.
Hold the left hand palm-up and relaxed, raised just enough at the outer
side to prevent the audience &om seeing the palmed card. This position is
more deceptive than turning the hand palm inward and exposing the fUll
back of the hand to the audience. Turned partially palm-up, the hand looks
less broad and stiff, less capable of concealing a card. Some experimenta-
tion will show that you also can spread the fingers slightly, giving the hand
a completely relaxed appearance while still concealing the card (Figure 99,
performer's view; Figure 100, audience's view).

As you mention the left hand, bring the right hand to it, letting the latter
be seen empty as it moves. Simultaneously turn the left hand palm inward.
When the right hand reaches the left, lightly rub the back of the left hand
with the right. In doing this, the right hand screens the left fingers for a
second, allowing you to transfer the palmed card to the right hand. lYlr.
Earick employs a refmed handling of the Hofzinserpalm-to-palm transfer: 1
The moment the left fingers are concealed by the right hand, move the
left first and fourth fingers from the end of the palmed card to its sides,
placing them roughly one-third in from the right end. lmmediately bend the
left third 6nger in and behind the palmed card (Figure 101); then straighten
that fmger, swinging the card away from the palm (Figure 102) and turning
it end for end until it lies behind the right hand (Figure 103). Notice that
the positions of the straddling first and fourth fingers, inward of the right
end of the card, minimize the breadth of the swing.

'The original HofUnser sleight is not nearly as weU-known as it deseJVes to be and can
be found in J.N. Hofzin.Krd UuilCcn;iliV1g (p. 27 of the Sharpe translation).

76 · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ...... TFI OU G !I T M AN IF EST

 . .. . .. . . . . . . . . . . .. - . . . . - . ... BY F o R cE S l.J :-: SEE N

~I
r __ 101

!OJ
Tu ou c ur M AN IFEST . ...... .. . . . . . . . . . . . . . . . . ... .. . ..... . 77
BY FoRcEs UNsEEN .. . ... . ...... .. .... . .................. .

Move the right hand a

little to the right, until the
card is positioned for
right-hand classic palm.
Within this action, apply
light pressure with the
heel of the right thumb
and tip ofthe right fowth
finger on upper right and
lower left comers of the
carcl.
\
Without hesitation,
smoothly turn the right
hand at the ,..,'list until the
finge~ point outward
(FtgUI""e 104). This auto-
mat:icalb' draws the uwer
left corner of the card
&om between the left se-
cond and third fmgers.
Simultaneously, turn the \
~\
left hand palm-up and /
slide it comfortably into
the fork of the right
thumb (VJgUre 105). The
riouht thumb rests on the
left palm. and the palmed
~
105
card is now completely concealed under the left hand. At this point the
audience has seen the backs and fronts of both hands, yet a card has been
hidden throughout this relaxed and natural sequence.
Ge-nrly massage the left palm with your right thumb as you say, "That
chakra. also known as the pineal eye, is believed to be the center of psychic
energy; and .if the nerve center in the left palm is pressed in a certain way,
one's psychicpowersareexcited. Lets see ifitworks. I want you to make a
vivid mental pdu:re ofthe card you are thinking of. as you stare at my pahn.'12

'This tyFe ofpceseru:arional ploy for outwardly motivating a palm-to-palm transfer has
~ ~&omatrickofJe:nyAndrus'stirled "Acupressure" (ref. Genii, Vol. 53,
~ 4, Ctt 1989. pp. 244-245).

78 . . . · ··· · · · · · · · ··· ··· ·· · ··· · · · · · · ····· .. THOUGHT MAN/PEST

•
····• · ············ ·· ··· · · ··· . ..... . .. . . BY FoR c Es UNSEEN

You now separate the

hands briefly, turning the right
hand inward to conceal the
palmed card as you move the
hand a few inches to the right.
All attention is placed on the
left hand. After a brief pause,
bring the palm-down right
hand over the palm-up left
106 hand. At this point, you must
exercise the lightest possible
grip on the card, holding it
with only the tip of the fourth
finger and the heel of the
thumb. This permits the hand
to assume a flat and relaxed
posture. Lay the right fingers
lightly across the left fingers
(Figure 106) and gently re-
lease the palmed card. As it
drops onto the left fingers,
107 move your left fourth finger
inward until it can engage the
inner end of the card (Figure
107). The right hand hides this
movement, as it does the card
between the hands.
Pause a moment, focusing
all attention on your hands as
you build suspense. Then snap
your left fourth finger forward
against the third finger, kick-
ing the card outward and into
I view. Before it can fly com-
pletely from the hands, trap it
at the fingertips, catching it at
/
108 its near end (Figure 108).

THOUGHT MANIFEST •. . . . . • ................•....•..•...••. • .. 79

BY FORCES UNSEEN ..•.........•........ ·············•····

When properly performed, this production (which is rather like propelled

lapping done in reverse) is extremely magical in appearance. The card seems
to materialize out of thin air. And since the hands have been seen empty just
moments earlier, the appearance is truly swprising.
All that remains is to ask the name of the thought-of card and reveal that
you are holding it.
Before closing this explanation, it is well worth mentioning that the left-
hand swivel steal can serve as a genuine one-handed center steal. To
accomplish this, first swivel the selection &om the center of the pack and
into a crosswise position at the inner end. Then use either your body or the
tabletop to push the swiveled card forward, into the pack, positioning it for
classic pahn. Press the tip of the left fourth finger against the inner right
comer of the card, gripping it in preparation for palming. It is now possible
to toss the deck upward, into the air or to the waiting right hand, while
retaining the selection in classic palm. Such an action must ofcourse be given
some presentational motivation. You might, for example, toss the deck
several feet into the air, then drive the left hand into the shower of cards and
produce the selection from them, apparently grabbing it as it falls.

80 ......... .. ................... . ........ TH OCGHT , JI.i.YI FEST

>

he four kings are removed from the deck and set on the
table. Next a card is freely chosen. This card the
performer places in his coat pocket. He then adds the
four kings to the face of the pack, displays them there,
and takes the deck into dealing position. Even though
the kings have been shown unquestionably on the
bottom of the deck, and the deck is held innocently in
one hand alone, when it is slowly and fairly turned face-
up, the kings have vanished and the chosen card has
appeared in their place. When the performer checks his
pocket, where the selection was placed moments
before, he finds there the four kings.

This is undeniably a baflling transposition. When they

are dearly presented, card transpositions are, in the eyes
of the public, among the most astonishing effects one
can perform with the paste boards. But often with trans-
positions the effect is muddled by unclear presentation
or confu sing handling. In "Bureau d'Echange" the
effect is made easy for the audience to follow, as it is four
 --
BY FoRcEs UNSEEN ......... . ....... . ............ . ..... .. .

kings that change places with one noted card. In addition, within this
excellent effect are locked further riches-for the method holds two original
sleights for the student: Mr. Earick's one-handed card switch and his one-
handed bottom palm. The switch is a new approach to the convincing
control. 1 The palm is a refined method for Paul Curry's one-handed
treatment of the Erdnase two-handed bottom pahn.2 Some years back Dai
Vernon and Larry Jennings showed Mr. Earick a "dead-hand" version of
the Erdnase bottom palm. 3 While practicing the sleight Mr. Earick
discovered he could execute the palm with one hand. Unaware of Paul
Cuny's earlier work in this direction, Mr. Earick reinvented much the same
technique, but went several steps further. With the Cuny palm the hand
had to drop to the side to conceal the palming action. Mr. Earick developed
a method of maneuvering the bottom card or cards into the palm while the
hand was in full view and outwardly motionless.
Both switch and bottom palm offer wide utility, and both have drawn
unreserved praise &om prominent card experts who have seen Mr. Earick's
execution of them.
Begin by openly removing the kings &om the pack. "The kings are the
highest ranking of the royal cards in a pack. Since this is my pack and my
trick, I am taking all four kings for myself." Display the kings, then set them
face-down on the table and spread them &om left to right.
"You, however, have the opportunity to enjoy the luck of the draw. You
can have any spot card in the pack. Please touch the one you want." You
specifY a spot card to provide better contrast with the kings. Spread the face-
down deck &om left hand to right and raise the hands, allowing the audience
to see the faces of the cards. Have someone touch a card. At this point Mr.
Earick's version of the convincing control comes into play:
1
A sleight that is an embeUishment on the Hof:zinser spread pass, first explored by
Edward Victor (ref. WiJ!Jme j Metho<hforMirczclu, N o. 8: EJwmYJ Vtctord CarYl in tlx.Acu, p.
11), and much later improved on by Allan Ackerman, Larry J ennings, Edward Marlo,
Frank Simon and others.
2
Ref. Erdnase's &put al tlx CaflJ Tab/~, first method, pp. 86-88 (particularly note the
6nal paragraph); and Curry's Something Borrow~;}, Som~thing New, pp. 25-27. Dr. Jacob
Daley also devised a one-handed bottom palm (ref. StarJ ofMagic, p. l 05), as has Lany
Jennings (ref. MaxweU's Cftu.JicMagicoflarryJmningJ, p. 234) .
3
S ee Whaley, Busby and Gardner's The Man Who Wa.f &YJna.fe, pp. 194- 195, for a
discussion of this Vernon interpretation.

82 ... ........ . ... . ..... . .. . ..... .... .. ... B u R f: A u /)IE c H A N G E

..
. .. ..... .. ..... . . . .... .. .... . ....... ... BY F oRcEs UN s E E N

109

ltj
\ I~
\~ '· 110
Break the spread, taking the touched card onto the face of the right hand's
portion. Lower the left hand several inches, turning it palm-up to bring its
portion of the pack face-down. The right hand's hold on its spread is
important: The extended forefmger should lie near the outer edge of the
cards, and the tip of the second finger must securely contact the face of the
chosen card at its right side (Figure 109).
Once the card has been noted, lower the right hand while turning it palm-
up, bringing the spread face-down. However, in this action the card just
shown is invisibly switched for the card above it. This is done by moving
the right second finger rightward, pulling the selection with it, while the third
and fourth fingers ease away from the face of the spread. The tip of the first
ftnger acts as a pivot point on which the card swivels counterclockwise to a
crosswise position under the spread (Figure 110). A light, sure touch is
necessary here to assure that only the selection moves. You do not want to
pull the cards above it out ofalignment with the spread. When the right hand
comes to a halt with the spread face-down, the selection is out of sight and
the card above it shows at the left end of the spread. This card is naturally
mistaken for the one just displayed.4

~The switch of the selection can be delayed, ifyou prefer. Only partially lower the right

B U REAU v'EcHANGE ........•...........•.................... . 83

BY FoRcEs UNSEEN ....... . ............. ... .. . ... ... ..... .

/
I
I

Using the tips of the left thLUnb a nd second fmger, pinch the exposed left
side of the substituted card and shift it forward, ou~ogging it on the face of
the right hand's spread (Figure 111). Then lay the left side of the spread onto
the t;ght side of the left ha nd's cards. In this action, use the left hand's packet
to liH the lelt side of the spread slightly, creating a gap between the spread
Md the left end of the sidewise selection.
Move the hands closer together, secretly introducing the end of the
selec tion under the left hand's packet (Figure 112). Then swivel the card
clockwise Md panJlel with the pack. This is done by extending the right

lwnd. ttu·ning the faces of the c:u·ds out of the spectators' line of sight, while y ou direct
t ht• li·on t t•dgc ot' t he sp•·e:1d direc tly at thei•· eyes. Having provided them with an edge-
v n view o f' the spnx1dyou c~u1swivel the selection beneath the other cards as you gesture
wit h cl.c •~ghc h:md. This gcshH'C and the ~Ulglc o f the cards assure tha t the switc h is
I lUI cJe tc<:l c<J.

84 ........ ...... ....... .............. . .. . B u R £A u D 'Ec H A N G £

p

.... . . . .. . . . ....... .... . .... . . ......... B Y F O R C ES U N SEE N

third finger while slightly contracting the second finger. These combined.
small finger actions cause the card to pivot into position while the right
fo 1·e6nger separates slightly from the face of the spread, clearing a path for
rhe turning card.
\Vithout hesitation, continue to move the hands together, closing the right
hand's spread onto the pack. This secretly loads the selection onto the face
of the deck. and leaves the substituted card outjogged from the center.
The reader is urged to try these actions. While they may initially seem
daunting, they are less difficult than their description might suggest.
With the palm-down right hand, grasp the deck by its inner cor-
ners - thumb at the left, fingers at the right -and remove it from the
left hand. Then tip the face of the pack toward you for a moment and
look at it as you say, "For safe-keeping I'll put your card, the five of
hearts, in my pocket.'' The card you name is the selection, which rests
on the face of the pack. The audience believes you are looking at the
outjogged card. This miscall is a convincing touch, as you do not know
the identity of the selection until this moment, and you seem to see it
precisely where the audience believes it to be.
Lower the deck once more to a horizontal position and, with your left
hand, remove the ou~ogged card without exposing its face. Slip the card
into your left-side coat pocket a nd remove your hand, obviously empty.
With the right hand, drop
the deck neatly onto the cen-
ter of the spread kings. Then,
with the same hand, grasp the
deck and kings by the ends
and raise them &om the table,
turning their faces toward the
audience (Figure 113).
"Your flve of hearts is in my
pocket, and my four kings are
here." After giving the audience a clear view of the kings, lower the deck
into the left hand and, with the left fmgers and thumb, push the kings square;
but in doing this, pull down lightly on the right side of the spread, forming
a left fourth-6nger break above the kings.
The left hand's grip on the pack at this point is important. Place your
thwnb across the back of the deck, and rest the tip of the forefmger at the

BUREAU D'EcHANGE •...•..•..... ...•.•... ·. · · · · · · · · · · · · · · · · · .85

Bv FoRcEs UNsEEN .............................. ···· · ····

outer right comer. It is the thumb

and this finger that must control
the deck during the secret actions
to follow:
Turn your left hand inward a
bit at the wrist, until the back of
the hand is partially presented to
the audience and the tips of the
second, third and fourth fingers 114
are pointed toward you (FigUre
114). Then, with the fourth fin-
ger, pull strongly inward and to
the left on the inner right corners
of the kings. This causes the four
cards to buckle concavely along -
their length, and to pivot clock-
wise under the deck, their inner
left corner acting as a pivot point 115
against the heel of the thumb.
Continue to exert pressure with
the fourth finger until the outer
right corner of the packet is
cocked roughly an inch to the
right (Figure 115). The second
finger rests just in front of this
angled corner, pressed lightly
against the side of the pack. Slide
this finger inward until the fleshy
cushion of the middle phalanx
engages the outer end of the
packet, near center. Then pull the
finger farther back. This buckles
the packet concavely across its
width, angling it roughly forty-
five degrees under the deck and
bowing it down against the palm
(Figure 116). 117

86 . · ·· · · · · ·· · · · · ·· ··········· · · · ·· · ··· .. . B l ' RE ..i l ' o·£ ·H.-iS G£

........................... . ..... . .... . Bv FoRcEs UNSEEN

Move the third and fourth fingers beside the second flnger on the outer
right comer of the card and pull in slightly (Figure ll7). For all practical
purposes the packet now lies in classic palm. As the fingers grip the packet,
the second finger simultaneously tightens around the side of the deck,
holding both pack and packet firmly in place.
Despite the finger motion just described, when done correctly, no
movement can be detected by the audience. The angle of the hand is partly
responsible for hiding the palming action, but other elements also come into
play: There is a tendency for the outer left comer of the packet to protrude
very slightly at the front of the pack when the fourth finger initially pivots
the kings. If, when the right hand places the deck into the left, the top of
the pack is beveled mildly outward, this bevel can effectively conceal indis-
criminate comer movement. The movement also can be covered with either
a slight motion of the left hand at the moment the fourth finger pulls; or the
right hand can reach in front of the left at the necessary moment, to gesture
or move something aside. Slightly
injogging the card or cards to be
palmed, as you position the deck in the
left hand, is another method ofavoiding
visible comer motion in front. In listing
all these solutions, the problem may
have been made to seem graver than it
is. You should be aware of front comer
motion; however, it is very small and is
easily hidden.
118 Next, to disguise the action of the I
second, third and fourth fmgers as they
move to palm the packet, dig the left I
thumb under the left side of the deck
and flip the pack rightward and face-up I
at the fingertips (Figures 118and 119).
Tip the back of the hand outward a bit
more as you turn the deck, to avoid
I
exposing the cards in the palm.
When Mr. Earick executes this
I
119 palm, the action is indetectable. You can I
watch the hand closely, yet see no hint

BUREAU D'ECHANGE •..•..•....•.••••. • · · · • · · • · • · · • · · · ........ 87 I

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Bv FoRcEs UNSE E N ............................... . ...... .

of covert finger motion. The palming actions can be done quite slowly and
be imperceptible. It is an amazing sight in itselfto watch him place the deck
into his left hand, then a few moments later be shown that the bottom cards
are in full palm. Practice and study of the proper angles are necessary, but
the final result is a remarkable piece of sleight-of-hand.5
But we have got a bit ahead ofour presentation. Just before the palm is
completed and the pack is flipped face-up, you say, "But if I do only this ..."
Make a magical gesture with your right hand, focusing attention on it; then
snap your fingers above the pack and complete the palm as you turn the
pack over, revealing the selection on the face. " ... my kings vanish and your
card appears in their place I"
With your palm-down right hand, grip the face-up deck by its ends from
above and remove it &om the left hand. Mr. Earick likes to slide the deck
forward as he takes it &om the left hand, drawing the left sides of the cards
across the left 6ngers in a squaring action. As the deck leaves the left hand,
turn the hand palm-down and move it back, toward your coat pocket.
"And my kings? They have taken the place ofyour card in my pocket !"
Reach into the pocket and produce the kings from it.
At the end of the trick an inclliferent card is left in the pocket. Let it remain
there ifyou can work the next effects with a 6fty-one-card pack. Or palm
it out later and retum it to the deck when attention is relaxed.
Mr. Earick, always concemed with details, comments that this effect
might be enhanced if one used the right-side coat pocket, rather than the
left. Doing so distances the deck (which is in the left hand) farther from the
pocket, and helps to negate thoughts of palming from the pack. The addi-
tion of one sleight makes this aesthetic distancing possible. The sleight is
another variant of the Hofzinser palm-to-palm transfer, and is quite similar
t.o that taught in the preceding trick (see pp. 76-79) .
First, the spectator's selection-or rather, the card that has been substi-
tuted for the selection - must be placed in the right pocket. Otherwise the
trick proceeds exactly as explained, to the point where the kings have been
palmed and the deck is turned face-up to reveal the selection in their place.
I Jere the handling changes again. The right hand removes the pack from

VJ' hough the invisibility of this palm has been stressed, it would be wrong to suggest
1hal the llleig ht should be done as a sort of challenge to detection. As Paul Cuny righdy
observed, the strength of a one-handed palm lies in the opportunity it allows the other
hand to misdi•·ect away &om rhe sleight.

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120
the left hand and sets it down. Relax the left hand, letting it drop just below
the edge of the table. With the hand momentarily removed from the
audience's view and attention, execute the ftrst action of the transfer, swing-
ing the cards &om the palm to a straddled position at the fingertips.
By this time the right hand has deposited the deck on the table. As
it leaves the deck, make sure the hand is seen empty. Now relax further,
leaning back in your chair while moving the right hand toward the edge
of the table. As the right hand reaches the edge, the left hand rises to
meet it (Figure 120) and places the cards directly into the right palm.
The right hand completes the transfer by taking the cards into classic
palm (pp. 77-78, Figures 103 and 104).
The left hand, having turned palm-up, moves forward to point at the
selection on the face of the pack as you say, " ... and your card appears in
their place." With this gesture the hand is seen empty. The right hand turns
partially palm-up, concealing the cards while maintaining a relaxed posture.
The right hand then travels to the right pocket and produces the kings &om
there. The transfer is certainly a worthwhile maneuver, as it not only achieves
the desired distancing of pack from pocket, but also allows the right hand
to be seen empty just a moment before it brings forth the kings.
The transfer is done in an instant and, because it is executed at the edge
of the table, it is completely covered. Though the actions are different, in
premise this transfer is closely related to Slydini's imp-pass; and like that
sleight, it is extremely deceptive. If you neglect to learn it you will have
overlooked an exceptionally valuable tool of deception.

B UREAu D'E CHIINGE .......................................... 89

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Bv FoRcEs UNsEEN ....... . ......................... ... .. .

Regarding Mr. Earicks convincing control, it should be mentioned that,

if the selection is made from a face-down spread, both hands do not have
to rise to effect the switch, as is done in so many convincing control
handlings; raising and turning just the right hand to display the chosen card
is a more logical and natural action, and presents a clearer picture to the
spectator. It is also worth noting that Mr. Earick's handling of this sleight is
pertectly suited to loading the selection to a specific location in the pack. Just
hold a left fourth-finger break at the spot you wish to position the card, say
6fth from the bottom. Ifyou now slip the left end of the selection into this
break, then swivel the card clockwise, using the same right-finger action
explained above, the card will move effortlessly into the deck. In doing this,
the card can be left injogged as the hands finish closing the spread. In fact,
this injog is a natural result of the loading maneuver. The injog can then be
used to obtain a break above or below the selection. Ifyou tty this you will
fmd that loading the card into a break is no more difficult than conveying it
to the bottom.
Finally, please note that the action ofMr. Earick's convincing control can
be adapted to effect a bottom deal switch, a cull or a force. Also, both Ken
Krenzel and David Michael Evans have observed that, ifthe swiveled card
is left crosswise as it is loaded under the pack, it can be immediately bottom
palmed in either the left hand or right.6 1t is a sleight that holds much promise.
I enthusiastically commend it, and the other sleights showcased in this trick.
They are superb examples of expert card handling that will speed those who
learn them several laps ahead of the competition.

6Related palming maneuvers are in p•-int; e.g., Allan Ackerman's Hofzinser card pass
to a full bottom palm (Hm- :, My Gml, pp. 27-29) and Frank Simon's veJ-sarile spread
palm (Jlen,aJik CvTJMagic, pp. 145-152).

90 .. ................. . ............ . ...... B U REA u D'EcHANGE

-

chosen card is inserted reversed into the center of

the deck. The deck is set face-down on the table. The
performer explains that he will do something quite
astonishing- in exactly five seconds. He asks every-
one to watch the deck as someone in the group
counts off the time. During this five-second count-
down, he shows his hand empty. positions it over the
deck, then brings it down with a smack. When the
hand is raised-still empty-the selection is seen
resting face-up on top of the deck.

H ere is another strong, direct, visual effect; the kind

that elicits gasps of amazement &om an audience.
The plot has been around for years, and some fine
magicians, including Dai Vernon and Ken Krenzel,
have developed methods for it. 1 To this plot Mr.
Earick brings his own innovative handling.
Begin by having a card selected; or you can
simply nominate a conspicuous card for the main

Ref. Lorayne's CmiJ C!aJJiCJ of&n !V"tnze!, pp. 189-192.

1
BY FORCES UNSEEN ...•. . ..•.•..•..••....... ········ · ·····

role. You will insert this card face-up into the face-down pack, then steal it
out again with a variation of S.W. Erdnase's diagonal palm shift. When Mr.
Earick executes this sleight, he prefers to do it in two steps, first setting up
the card for palming, but pausing before actually stealing the card from the
pack. He feels that, by delaying the steal in this manner, the sleight is made
more deceptive.2 If the diagonal pahn shift is done as one continuous action,
as is usually recommended, while nothing may be seen, some element of the
sleight -perhaps only the proximity of the insertion of the card with its secret
removal-can telegraph that something covert is being done. The simple
act of pausing before completing the steal eliminates this subtle flaw. The
introduction ofa pause makes a steal appear all the more impossible, as it is
accomplished so quickly and neatly. Such is the advantage of a get-ready,
which is what a pause in procedure achieves. H ere is Mr. Earick's approach
to the diagonal pahn shift:
Hold the deck face-down in left-hand dealing grip, with the thumb
stretched along the left side of the pack. Take the selection by one end, face-
up in the right hand. With the left thumb, riffie down the outer left comer
of the pack and open a break near center. Insert the selection into this break
and let the gap close, leaving the card ou~ogged for roughly a third of its
length. Adjust the right hand's position, moving it palm-down over the pack.
Curl the right forehnger onto the back of the deck, rest the tips of the other
right fmgers against the outer end of the selection, and the thumb against
the inner left comer of the deck. Then push the selection into the pack. using
mainly the right second finger. This causes the card to angle diagonally
through the pack (Figure 121).
In a preliminary squaring action, slide the tip of the right second 6nger
rightward over the &ont end of the deck, then back to the outer left comer.
At this point Mr. Earick inserts a little gesture designed to establish that the
card has been pushed completely flush: With the right hand, grip the deck
by its ends, curling the forefinger onto the back. Remove the pack &om the
left hand and rap its outer right comer sharply on the table, tapping the cards
square. The rap does not disturb the anglejogged selection. During this
1
0ne might suspect that this very thought was on Dai Vemon's mind when he wrote
his commentary on the diagonal palm shift in Revr:Wiofld, pp. 138-140. Addjng a delay
to this sleight has occurred to others as well over the years. including Ken Krenul,
who applied it to Paul LePaul's handling of the diagonal palm shift. Yet, to my knowl-
edge no detailed description of the delayed palm shift has been p~sly pubmkd.

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'
\ 121
'

122
action, the right hand and deck conceal the angled card &om those in front
and on your right. If there are spectators on your left, let the left hand relax
and drop to the table, a few inches to the left ofthe pack as you tap the cards
square (Figure 122). This shields the angled card from leftward eyes.
Immediately after rapping the comer of the deck against the table, return
the pack to left-hand dealing position.
Without the least hesitation, bring the tip ofyour left thumb against the
outer left comer of the selection, and press the left fourth finger against the

KA 1'0- NINE-TAILS •.....••...•............•.••....••.....•.... 93

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BY FORCES UNS EE N .......... . ............ . . · · ··•·······•·

inner right corner of the card to anchor the outer lef-1· corner on the thwnb.
Then draw the thumb back along I he side of the deck in a squaring action.
The left fingers naturally come into contact with the right edge of the angled
card and aid in controlling it as it is slid inward (Fi[:,rurc 123). Now, with
the left fourth fingcc swing the selection clockwise, using the right thwnb
as a pivot post. w1til the card lies parallel with the left fingers (Figure 124).
The card is now in position to be gripp<.-d in left-hand classic palm. T he left
94 ... ........ .............................. K 111'0-N INE - TII!LS
 ............. . ........ .. ...... ....... BY FoRcEs UNsEEN

fingers do just tha t, moving onto the right end of the card. However, a large
portion of 1he outer left corner of the card still lies in the deck. Rather than
moving the left hand inward to disengage the selection, instead move the
left hand forward , sliding the angled and nearly palmed card deeper into
the deck. In doing this the left hand should appear only to be making a
forward side-squaring action. You will have to lift the tip of the right thumb
f1"<>m the corner of the deck to let the card pass. The ball of the thumb,
however, remains in contact with this comer of the upper half of the pack,
helping to control the cards. Also, throughout this maneuvering ofthe card,
keep the left forefinger straight and in light contact with the face of the deck.
This ensw·es that the selection isn't accidentally exposed through the fork
of the lett thumb as you pivot the card into position.
The selection now lies crosswise
in the pack. Even though it remains
in the deck, your left hand grips it as
if it were in classic palm (Figure
125). Shortly will be, but for now
you wait and talk:
"One element important to magic
is surprise.lf magic weren't surpris-
ing, people would take it for granted,
as they do most things." While you
say this, gesture suitably with one or
125 both hands, moving the right hand
&om the pack.
"In a few moments something very surprising is going to happen with
your card. There, now! I've just done something other magicians would
never do: I warned you that you are about to be surprised. That makes my
job much harder. To make it even more difficult, I'll tell you the very second
it will happen: in just five seconds. So that you won't be surprised when five
seconds are up, I want you to count the seconds offfor us." Here you indicate
anyone in the audience by looking at him and pointing with your left
forefinger. Here you implement the subtle palm-display explained in
"Thought Nlanifest" (p. 75, Figure 97). Though the selection is positioned
for an immediate steal, the left palm is seen empty.
Bring the right hand back to the deck, grasp it &om above by the ends,
and draw it forward, removing it &om the left hand. Simultaneously tilt the
KATO-N!NE-TAILS •..•• . •••• •. • . ......•..•.••..••.•....... • ... 95
 -
BY FORCES UNSE EN .. ·······•········· · ·•··· · ·············

left hand slightly upward, so that the audience cannot see the card it has
retained in classic pahn. Set the deck face-down on the table, approximately
eighteen inches in front ofyou.
"Are you ready? Good." As you say this, hunyour left hand pahn inward,
near chest level, and bring the right hand to it, casually letting this hand be
seen empty as it moves. You are now going to transfer the palmed card
secretly to your right hand. In "Thought Manifest" Mr. Earick's handling
of the Hofzinser palm-to-palm transfer was explained (pp. 76-79). But here
we wish to deliver the card to right-hand gambler's flat palm. To do this, a
completely original palm-to-palm transfer comes into play:
Place the tip of the right fiJ'st finger onto the depression between the
knuckles of the left second and third fingers; and the right second
fmgertip onto the depression between the knuckles of the left third and
fourth fingers (Figure 126). Use the two right fingertips to rub the left
knuckles they rest on. At the same time, stretch and spread the fingers
of both hands, spreading the left fiJ'st and second fingers last to avoid
exposing the palmed card. If the other left fingers spread an instant
before, they will shift the upper edge of the card downward, just below
the top of the second finger. This spreading, stretching motion of the
fingers is a natural action used when flexing one's hands. It would
appear that no card could be concealed during such an action; but, as
Figures 127 and 128 reveal, this is a convenient misconception.
After a flexing action such as that just performed, one naturally relaxes
the stretched muscles. It is during this moment of relaxation that the card
is transferred &om left hand to right. Let the fingers of both hands relax,

96 . . .......... . ......... ..... . . ............ K A 1'0-N / NE-TA ! LS

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127

and bend the right fourth finger inward a bit, until its middle joint can contact
the lower right edge of the palmed card. Simultaneously, place the tip ofthe
right thumb on the upper right edge of the card (Figure 129) .Immediately
move the left hand to the left while brushing the right fingertips across the
backs of the left fingers. At the same time, you grip the card between the
right thumb and fourth finger. The left hand releases its grip on the card,
but the tip of the left third finger catches the right end, causing the card to
KA TO-NINE-TAILS •• .. •...••..•....•...••.•.• • ...•...••....... 97
BY FoRcEs UNsEEN .................... . ....... . ..... . ... .

pivot between the right thumb and fourth finger; turning end for end (Figure
130). By the time the right 6ngertips reach the outer phalanges of the left
fingers, the card will have pivoted neatly into right-hand gambler's flat palm
(Figure 131). That is, it is clipped by its left comers between the side of the
thumb and the inner side of the fourth finger.
This transfer, while in no way rushed, takes only a second or two to
accomplish, and is done before you can 6nish saying, "Start counting now."
On completing the transfer of the card, allow the left fingers to spread a bit
and turn the left hand partially palm-down, permitting it to be seen empty.
At this point your right forefinger and thumb close together on the tip of
the left third finger and give it a gentle tug, as iflimbering it (Figure 132).
Outwardly, the action of the transfer appears to be one of lightly stroking
or massaging the left fingers.
98 ... .... .... .............. .... ...... . ..... K /t TO-N I N E-TA JLS

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Release the tip of the thir·d finger and pull on the tip of the second fmger
in the sam e fashion. By now the spectator should have begun counting. After
tugging on the second finger, do the same for the first. Ignore the hands as
you perfonn this ritual, but assume a look of concent1·ation, similar to an
athlete's when limbering up and mentally preparing for a difficult feat.
When the spectator counts "three': drop
your right hand casually to the table, letting it
rest palm-down, fingers curled loosely in. The
hand should lie about eight inches directly
behind the deck. Though the hand appears
relaxed, you have lowered the thumb, moving
the c<u·d away from the palm, and clipped the
outer left corner between the tips of the ftrst
JJJ two fingers (Figure 133). The hand is poised
to toss the card forward on the count of five.
KA TO-N IN E-TA IL S •.......•.•.........•......•........••..•.•. 99
BY FORCES UNSEEN .................•.....................

At the same time that

the right hand drops to
the table, move your left
hand palm-up and for-
ward to a spot at the left
of and slightly behind
the deck, elevated about
six inches above the
table. Focus your full attention (and that of
the audience) on this hand. Then wait. When
the spectator counts "five'; two things occur
simultaneously:
Firt~t, the right fmgers straighten suddenly,
scaling the palmed card forward toward the
deck (Figure 134); and, ti«<nd, the left hand
slams palm-down onto the pack, pinning the
face-up selection on top (Figure 135). Mr.
Earick recommends that, when tossing the
card, y ou spin it out at a slight upward angle,
directing the edge as bestyou can toward the
eyes of the spectators. Thus, as the card sails
out edgewise, less surface area is in view,
helping to assure that the Hight of the card is
not perceived. The descending left hand and
arm also shield the card during its rapid flight, 134
misdirecting as well from the right fmgers'
motion. The timing of the move is such that you are actually tossing the card
under the left hand as it descends. Throwing the card at the deck is not
difficult; but catching it neatly under the left hand will take practice.
It should be mentioned that an
extra bit of body language is exer-
cised as the toss and smack are ~
p erformed. As you bring the left ~ -
hand down on the deck, make a )
short rightward body turn, starting ·
at the shoulders. Within the turn, the
right hand moves naturally to the

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right, distancing itself farther from the deck. This movement helps to con-
ceal the smaller motion of the right fingers as they scale the card. Do not
exaggerate the tum. Study the body mot ion you naturally make when
slapping down the left hand; then duplicate it when malcing the throw.
Smacking the deck will probably startle many of"your spectators. If it is
in character, you can amplifY the reaction by shouting as you bring down
the hand. Pause for several seconds, buiJding the drama of the moment; then
widely spread the left fingers and raise the hand, exposing the face-up card
on top of the deck. If this sudden appearance doesn't surprise your audi-
ence as promised, vital signs shouJd be taken.
Some readers may remember an item published in 1969 under the title
"K.ato's Card Happening':3 This article explained a wonderful and little-
known sleight by Hideo K.ato in which a chosen card appeared suddenly
under an empty hand as it was slapped onto the table. The secret was inge-
nious. The selection was controlled to the top of the pack and anglejogged
slightly as the deck was set on the table. Then, as one hand was slapped onto
the table in &ant of the pack, the other hand flicked the card off the deck
and under the descending hand.
Mr. Earick developed his production without knowledge of "Kato's Card
Happening". Yet the two sleights are unquestionably similar in concept, and
Mr. Kato's clever invention should be recognized. Note, though, how the
Earick technique makes it possible to eliminate the deck completely from
the performance area while doing the K.ato effect. We'll call the sleight the
Katosoarus toss.
In passing. Mr. Earick also mentioned that the classic-palm-to-Oat-palm
transfer taught above can be accomplished as you remove a ring from the
left third finger. This act perfectly covers the motions of the transfer. The
ring, of course, should be a loose-fitting one.
The reader is strongly encouraged to study the sleights just explained.
In mastering them he will have gained not only a most impressive effect, but
also new tools that make possible a wide range of excellent magic. In proof
of this, witness the next item.

3
Re£ Genii, Vol. 34, No. l, p. 23.

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 r
he performer asks someone to select a card or him, rlhi.s
card is noted and inserted into the center of the deck.
Next the spectator is asked to volunteer a coin, whi£h
she initials so that she can positively identiJY it. The
performer sets the de<:k on the table and takes the coin
into his obviously empty hands. With a wave of the
hand, the spectator 's coin visibly transforms into the
performer's card. He immediately cuts the deck at the
point where the card was inserted and finds the
spectator's initialled coin.

This interpretation of Paul Harri s's "Strange

Exchange" 1 employs the same opening sequence
explained in the p revious tric k, with one small
difference: the chosen card is inserted face -clown
into th e d eck, rather than face-up. The effect is
introduced with words along these lines:
"This next trick uses two objects. One is yours ... "
Here you indicate a willing helper on your left. '' ... the
1
R.ef. Clo.K-up PantMw, Fina.k, pp. 89-97.
.. . . . . . . .... . ... ... .... . . . . . . . . . . . . . .. . BY FoR cEs UNSEEN

other is mine. Your object will be a coin. A quarter is best." If the spectator
doesn't have a quarter, have her borrow one &om someone in the group. If
a quarter can't be found, a nickel, a penny, even a dime, can be used.
"Good. Just set it in front ofyou for a moment. My object will be a card
from this deck. But to keep me honest, why don't you pick my card for me.
Cut the cards anywhere. Do you know what card you have cut to? Of
course not. No one could know." Turn over the top card of the bottom
portion and let everyone see it. Then gather the deck and place it face-down
in left-hand dealing position.
"All right, this card is mine. We1l place it back in the middle of the deck
for the moment." Insert the selection face-down into the deck and execute
Mr. Earick's delayed diagonal palm shift, maneuvering the card crosswise
in the pack, but interrupting the steal while you say:
"Now I want you to put your initials on your coin, to keep yourself
honest." Either on the table or in a pocket convenient to your empty right
hand you should have a marking pen that will write on coins. Hand it to
the spectator with your request, while pointing at her coin with your left
forefinger. This casual gesture serves to display the face of the deck and your
empty left palm (seep. 75, Figure 97).
As the spectator initials the coin, and attention is naturally on her,
complete the diagonal palm shift, removing the deck from your left hand
and setting it down in front ofyou. When the spectator has fmished writing,
say, "Good. Please cap the pen." As she does this, you perform Mr. Earick's
palm-to-flat-palm transfer (pp. %-98), secredy conveying the selection from
left-hand classic palm to right-hand gambler's flat palm. Then, as the right
hand assumes a relaxed position, resting on the table, reach out with your
empty left hand and pick up the coin.
"Is the ink dry?" Blow on the initials, then let the coin setde, marked-side
down on your open left palm. You will now take the coin at the right
fingertips and, at the same time, secretly transfer the palmed card back to
the left hand. Another ofMr. Earick's original palm-to-palm transfers accom-
plishes this task. It is once more based on a Hofzinser sleight, the Viennese
master's bottom palm.2
Bring the right hand palm-down to the left hand and, with the right
thumb and second fmger, grasp the coin by its opposite edges. In assuming

2
A good description of this palm appears in Hugard and Braue's &pert Cam Technique,
p.59.

YouRs, MINE, YouRs ................... .... . ....... ....... .. 103

BY FORCES UNSEEN ............. . ................. ········

this positionyou will find

the left fourth finger is
perfectly situated to con-
tact the far side of the
card (F'JgUre 136).lfyou
now bend this finger in
as you move the right
hand forward with the
coin, the card will pivot
clockwise between the
left fourth finger and the
right thumb (Figure
137), rotating until it is
parallel with the left fin-
gers and in position to be
classic palmed. The left
second and third fingers
do so, bending in slightly
to grip the card, and the
left fourth fmger joins
them at the right end
(Figure 138).
As this transfer is
made, tilt the left hand
palm inward far enough
to assure that the palm-
ed card cannot be seen
by the audience. There
must be no hesitation as
the transfer is made. It
should appear as if the
right hand has merely
picked up the coin &om
the left palm. Smoothly
move the right hand a
few inches to the right,
tuming it palm-up. This
104 ............ . · · .. · · · · · · · . . ........... YouRs, M t N E, Yo u Rs
p

. . . .................................. . . By FORCES UNSEEN

presents the coin, broad-

side and initials outward, to
the audience: French-drop
position (F'Igure 139).
"Now this is yourtJ,
right?" Here you indicate
the coin as you address the
spectator. "And this is
f11im." As you say this, do a
spellbound-like change,3
causing the coin to trans-
form into the chosen card.
The action is quite similar
to that ofchanging one coin
for another: The left hand
140 makes a graceful upward
pass in front of the right
hand's coin. The instant the coin is hidden by the left fingers, use your right
thwnb to roll the coin onto the tip of the third finger and lower it flat onto
the fingertip (Figure 140). Immediately raise the right thwnb behind the
left hand and leave the palmed card at the right fingertips, held by its opposite
edges between thwnb and fingers. The coin lies balanced, initialed side up,

~ Slluu/Magic, pp. 31-34.

YouRs, MINE, YouRs ................ . ..................... . . 105

BY FoRcEs UNSEEN ....•..... . ..•........•......•. . .......

142
on the tip of the third finger, and that finger is curled in behind the card
(Figure 141). This manner of concealing the coin allows the right
fingers to assume a relaxed and open posture that is quite disarming
(Figure 142).
There must be no hesitation as the substitution is made. The left hand
performs its upward pass in a smooth and graceful fashion, and the coin
seems to change to the card in the blink of an eye. The change is visually
startling and unexpected; particularly so since the hands are seen empty of
everything but the coin just moments before the card appears.
Pause for just a moment to let the change register in the minds of the
spectators. Then bring the left hand palm-up to the left end of the card and
cJjp its upper left corner between the first and second fingers, first finger on
106 . . .... . ....... . ..... .. · · · · ........... Yo u Rs, MINE, YouRs
>
. . . . .. ..... . ....................... . ... Bv FoRCEs UNsEEN

144
the face, second finger on the back (Figure 143). Now twist the card clock-
wise by moving the left hand foiWard and down while you pivot the card
around the tip of the right forefinger. At the completion of this move you
should be holding the card with its opposite index corners clipped between
the first two fmgers of each hand (Figure 144). The face of the card is tilted
toward the audience, and the coin remains hidden behind the card.
Let the outer index comer of the card snap free of the left fingers and
pause for a moment. Then, with the left hand, take the card from the right
fingers and toss it face-up onto the table. As you do this, curl the right fingers
loosely inward, pointing the tips the third and fourth fingers toward your

YouRs, MINE, YouRs .................................. . .... . 107

Bv FoRcEs UNSEEN .... . .............• .. ........ . .........

body to keep the coin concealed. The hand, though, should maintain its open
and relaxed pose (FJgUre 145).
After sailing the card onto the table, your left hand moves toward the deck
and begins to cut off the top half: however, it raises the packet at the right
side only. The right hand trails behind the left and reaches the deck just as
the gap is opened. Turn the right hand outward at the wrist and simulta-
neously straighten the third hngeii slipping its tip and the coin balanced on
it smoothly into the gap (FJgUre 146). This is done with just enough speed
to propel the coin off the finger and into the deck. In other words, you gen-
tly toss the coin between the halves of the pack. Because the left edges of
the halves are still togetheii the coin cannot shoot out the left side of the deck.
If these actions are properly timed, the coin is never exposed to the
audience. Without the slightest hesitation, grip the top half of the deck
between the right thumb and fingers, and cany it to the right, reveal-
ing the coin, initialed side up, resting on the bottom half (Figure 147) .
'i\nd thw is your.~!"
Withyourpalm-down left hand, grasp the tabled halfby its left comers
and raise it slightly to allow the right hand to slip its packet beneath. Leave
the deck on the table, with the coin resting on top.
You will find the loading of the coin into the deck to be a delight-
fully easy task. However, as the coin is tossed between the packets some
telltale noise will occur. With practice the noise can be diminished, but
it is virtually impossible to eliminate it completely without unwanted
h esitation . Consequently, you deliver the final line- "And thiJ is
108 . . . . .. .. ... ... · · ·. · · · · · · · · · · ..... .. .. You Rs, M INE, You Rs
p
. . . . . . . . . . . .. . ... . .. .. . . . . . . . . . . . . . . . . . B Y F ORCES UNS E.E. N

146

your<~ I "-with appropriate force and drama, drowning out the tap of the
coin as it settles onto the lower packet.
The actions of the change and the production of the coin &om the deck
are done in a soft, relaxed manner, but the pace of the sequence is kept fairly
brisk. The speed should be governed by the time it takes you to say, "Now
this is yourd, right? And this is mine. And thiJ is yourd!" Delivered in this
fashion, the sudden transposition of coin and card will elicit audible gasps
of amazement.
One final note: Those familiar with Larry Jennings's "Coin Cut"4 will
wonder ifit might not be applied to this trick. Mr. Earick observes that the
Jennings move becomes much more difficult to execute deceptively with a
coin smaller than a half dollar. Since, these days, a half dollar is rarely found

~Ref. lany JmningJ on CarJ anJ Coin Handling, p. 17.

YouRs, MINE, YouRs ........ . ...... ... ......... . ...... . . ... . 109
BY FoR cEs UN SEEN ........ . .. ... . . . .................... ..

outside a magician's coin pw-se, it is most unlikely that a spectator will offer
you one. These considerations led to the development of the fingertip
approach just taught. This method has an additional advantage in the trick
just described: the coin needn't be transferred from fingertip to classic palm
before loading it into the deck. Ifyou try the sleight, you will find it has an
honest, at-the-fingertips appearance that is quite persuasive.

110 ..... · ······ · ········ ··· ······ ....... YouR s, MI NE, Yo u Rs

card is £1-eely chosen, noted, then unquestionably lost
in the center of the deck. However, the performer
cautions his audience, it should not be asswned that
the selection is now safe from detection. While he
may not know the precise location of the carcl. he
does know its general whereabouts, since it was
returned to the middle of the pack. He removes the
cente1· section of the deck and spreads it face-up, so
that the audience can confirm for themselves that the
selection does rest among these cards. He then
reverses this center section, turning it face-down in
the middle of the face-up deck.
Having narrowed the possibilities from fifty-two
to roughly twenty, he explains that the cards do the
rest for him. He gives the deck a little shake and
everyone hears a popping sound from the pack.
When he next ribbon-spreads the cards on the table,
all are now seen to be face-up - all but one. In the
center of the spread is a single face-down card. It
proves of course to be the lost selection.
BY FORCES UNSEEN ... ··········· .... ········ ..... ········

The plot is Dai Vernon's "It Stands Alone': from Tlx ~mon Chronic!M, Vo/J.um
2: Mo~ l.odt Inner &crd.J. 1 The method is an ingenious combination ofclever
ideas. Among the sleights used are the llicker glimpse, a fresh handling of
the turnover pass and an astonishing variant of Looy Simonoff's flippant.
Shuffle the deck or have it shuffied. Then hold it face-down in left-hand
dealing grip and ask someone to call stop as you riffie your left thumb down
the outer left comer of the pack. Riflle slowly, so that the spectator stops
you somewhere in the upper half of the deck. With your right hand, neatly
lift all the cards above the thumb's break and set this top packet aside. With
your left thumb, push over the top card of the remaining packet: the card
the spectator stopped you at. Take this card into your right hand, gripping
it near its outer right corner, thwnb on top, first and second fingers beneath.
The third and fourth fingers should be curled loosely in, so that they rest
above the card. Lift the card from the packet and hold it vertically, its face
turned fully toward the audience. "Please remember the card you stopped
me on." As you say this, straighten the right third finger, flicking the card
in casual emphasis. It is this flicking action that allows you to glimpse the
face of the card:
As the third finger hits the back
of the card, it bows the bottom end
momentarily outward, permitting
you to glimpse the lower index (Fig-
ure 148). Ifyou ease the second
finger away from the card, moving
it outward with the third finger as
you make the flick, a broader
movement of the card is permitted,
aiding in the glimpse. You can flick
the card two or three times, ifyou fail
to get a clear glimpse on the first
llick. This remarkably subtle method
of glimpsing a card is little known 148
and will fool the most astute.2

IPp. 195-198.
2
This glimpse has quietly circulated for at least three decades, but I have been unable
to ascer("ajn the inventor. It is described in Jeny Mentzer's 1977 book Uvi) Cavalcalk

112 . .. ........... . ....... .. .. .. . . . . .. .. . .... AL ONEI N II CROW D

............ · · · · · · · · · · · .. · · · · .. ... . .. .. Bv F o R cE s UNS EE N

( )nn· t·v ·ry orw hns 11otcd the card (they openly, you secretly), insert it
f:1n·-<low n ir1to tht· lcli hand's packet, somewhat above center, and cleanly
P"~'~ J, it lln t-~ h. Tlwn, with y o ur J>::Jm-down right hand, grasp the packet by
itl'l (·ru ll'l, lif't it scvenJ inc.;hcs and dribble the cards back into the left hand,
cli.-.play ing I lint absolutely no control is being exercised over the card. Next
pidt 11p the IHhlcd pile and dribble it onto the rest. At this point the specta-
tors s hould be I horoughly con vinced that the <=<vd is lost in the pack.
'' I::.vcryonc knows what the card is but me. I'm the only one who didn't
look a t it. If I had, I hcr·e would be no p oint to th is demonstration . However;
the c;u'() is not <IS los t as you might think. I may not know what it is, or where
it is, b11t I do know the general neighborhood, because no one has shuffied
the c;u·ds." 'l'urn the deck l~lcc-up and take it by its ends in the palm-down
rig ht ha nd. Neatly dribble about a third of the cards into a pile to your left.
''It is n't in that group." D1ibble another third of the pack to the right of
the lir·st pile. "Uh-huh I" Nod your head, then dribble t he remaining third
oft he pack into a pile to your right. '1\nd it's not here."
Pick up the center pile and pretend to weigh it in your hand. "I still don't
know which card is yours, but I've narrowed it down to this group ofabout
twenty." Spread I he packet bet-ween your hands and quickly sight the card
you g limpsed . Pause long e nough here to let the audience see that the
select ion is indeed in the middle of the spread; then close the cards into your
left hand, catching a left fourth-finger break above the selection. You will
now secretly bring this card to the face of the packet with a turnover pass.
Mr. Earick u ses a turnover pass of his own devising.3
Bring the right hand palm-down over the left hand's cards in an end-
squaring action, and curl the right forefinger onto the face of the packet. Also
curl the left forefinger under the packet. Lift all the cards above the fourth-
finger's break at the inner end, tilting them face outward toward the audience
(Figure 149). "I also am sure that this ftrst card is not yours." Here you refer
to the card exhibited at the face of the packet. The instant you have raised

Four (pp. 54-56) with no indication of origin. Steve Freeman remembers Dai Vernon
showing this glimpse to him in 1974; and Bruce Cervon learned it &om the Professor
in the 1960s. But neither gentleman knows the author of the idea.
3
This tum over pass employs a Marlo screening idea and the mechanics of the Herrmann
pass. It therefore bears some resemblance to AJex Elmsley's tipsy turnover pass (ref.
The CollecteJ WiJrA'J ofAkx Elnuley, ~L I, pp. 112-113), but there are handling differences
that distinguish Mr. Earick's pass from others and make it artistically quite satisfYing.

ALoNe IN A CRo wv ............................................ 113

BY FoRcEs UNsEEN .............. . ....................... .

this upper portion, straighten

the left forefinger, secretly
tipping the lower portion up on
its right edge (FJgUre 150). The
tilted upper cards and the right
hand completely conceal this
action &om the audience.4
At this point, the left fore-
finger conveniently resides
between the two portions of
the packet, at the outer right
comer ofthe tilted section. You
will now tum the packet face-
down and complete the pass in
one smooth action. Your right
second and third fmgers are
resting on the &ont edge of the
tilted portion. Grip this portion
by its sides, between the left
thumb and tip of the forefmger.
Then pull up with the right
fmgers on the outer end of the
cards, revolving the halfpacket
teeter-totter fashion on the tips
of the left thumb and forefinger
(Figure 151), until its back is
turned toward the audience. In
the same action, use the left
second and third fingers to fold
the vertical cards flat onto the
face of the pivoting section
(Figure 152). You will find that
t his rejoining of the two
portions occurs almost auto-
matically as a result of the

4 This screening concept was first suggested by Edward Marlo. in the context of a half
pass; see Cla..wical FourJOtne, p. 5.

114 .................... . .. . ................ . ALONE IN A CROWD

..
. . . . . . .. .. .. ... . . . . . . . . . . . . .. . . . . . . . . . . B Y F ORCES UNSEE N

turntng of the packer. Wtth

no interruption of action ,
grasp the upper end of the
entrre packet -r·ight thumb
on the face, right fingers on
the back - and continue to
-~ turn the cards end over end
and face-down into the left
hand (Figure 153). The
turnover pass is completed.
Raise the packet to the left
fingertips and square it there.
'1\.ll I have to do now is turn
the group with your card in it
face-down in the deck." With
the right hand, neatly dribble
151 these face-down cards onto
the face-up pile to your left.

~
Pick up the face-up pile to
your right and dribble it onto
· ·---.... the face-down cards.
Pick up the pack, taking it
into left-hand dealing grip,
and spread the cards between
the hands, displaying the face-
down section between face-up
cards. As you close the spread
back into the left hand, catch
a left fourth-finger break
above the lowermost face -
down card (the selection), and
a left third-finger break above
the uppermost face-down
( J52 card. Then,asyourrighthand
aids in squaring the pack,
adjust the upper break from the third finger to the heel of the left thumb.
You now hold a Z -break (Mr. Earick calls it a "Zorro break') at the inner

ALONE INA CROWD ••.•.•• .•••.•... ............•.....••....••.. ll5

 c
BY FoRcEs UNSEEN ................ .. ...... . ............. .

153
end of the deck (Figure 154). Rest yow- left thumb on the face of the pack,
applying downward pressw-e to prevent the heel break &om gapping at the
front of the deck.
At this point you can, if you wish, ri£Ile the &ont ends of the cards off
the right fingers, once more displaying the face-down packet in the middle
of the face-up deck.
"If I can get this far, the cards will do the rest. AJI I do is give them
a little shake." You now execute Mr. Earick's covered varia nt of Looy
SimonofFs £1ippant.5
Hold the deck perfectly horizontal in left-
hand dealing grip, and shift yow- left thumb
to the left side of the pack, pressing it lightly
against the edge of the center section, but
contacting the upper portion as little as
possible. This section should rest loose on the
deck. Drop the hand s harply w h ile you
release yow- grasp on the cards above the
fourth finger's break . T his drop of two to
three inches must be straight d own, and pw--
posely leaves the upper packet floating an
instant in midair. The face-dow n center 154
section is also made airborne - but its leA. side

5
See Apocalypt~t, Vol. J No. 9. PP· I 03-105, ror I he Simonofr sleight :
I

116 · · · · · · · · · · · · · · · · ..... · ................... A/, 0 N B IN 11 C R0 IY1 J)

>
. ...... ... ...... . ............. ... ...... Bv FoR CE s UN S EEN

trips over the thumb, ...vhich imparts a

s harp counterclockwise spin to the
packet, causing it to make a sidewise
revolution of one hundred e ig hty
degrees while it is suspended between
the upper a nd lower portions of the
deck ( Figure 155).
Once the center packet has flipped
face-up, the left fingers and thwnb open
quickly to catch it and the upper packet
square on the lower third of the pack.
The finger-s immediately close again on
155 the sides ofthe cards, framing the packets
and pushing them square. Think of this
opening and closing of the fingers as if they were a camera shutter. They
open for the briefest of instants to avoid knocking the descending packets
askew, then close in on them. However. one can still lose control of the
packets ifthey don't land flai on the deck. Practice alone will teach you the
knack of catching the cards neatly.
I am certain that, ifthis is your first exposure to the covered flippant, you
will suspect it a pipe dream-even given experience with Dr. Simonoff's
flippant sleight. I remember my disbelief when Mr. &rick first explained
the idea to me, then expertly demonstrated it. When I tried it myself, my
disbelief vanished; for on my first attempt, the center packet flipped face-
up, just as Mr. Earick said it would. Granted, the flying packets did not land
nearly as neatly as they did in his hand, but I discovered that the midair
reversal of the center block was entirely practicable. This is not meant to
suggest that the sleight won't take practice, particularly if you have no
previous experience with the flippant dynamic. But the covered flippant iJ
easier than its description might suggest.
When performing the sleight, delay shifting the left thumb to the side of
the pack for as long as possible, to keep the heel break from opening at the
outer end. You can further conceal any gapping of this break by turning
somewhat to your left while keeping the deck well below eye level, thus
turning the front ofthe pack beyond the spectators' line of sight and giving
them a fine view of the face.

ALONE INA CROWD . • •••.• • ••..•....•.•.• • •.••..•.••.•.•...•..• ll7

BY F O RC ES UN SEEN .......•.•.••....•.. .... . ...... · •·•··•·

As you gain proficiency with the sleight, the action w ill become faster
and faster, until the flight and rotation of the packets cannot be perceive<J.
There will, however, be a flop or <~mack as the packets land back on the deck.
Since this noise is unavoidable, make a point of it in your presentation:
"Did you hear that? They just did it. The cards fo und your selection f01·
me. Look!" The face-down selection lies roughly two-thirds down in the
pack. Ribbon-spread the face-up deck on the table, deliberately spreading
the lower portion widely and the upper portion more narrowly to center
the selection visually in the spread.
'J\11 the center cards have turned face-up - all but one." Point to the face-
down card. Then slip it neatly from the spread and turn it face-up. "Your.' I"

Mr. Earick's covered flippant can be used for other purposes than the
righting or reversing of cards in the pack. Like its parent, it also can ell'ect
the transformation of one or more cards. H ere is one eOicient way to handle
such an effect. Secretly manage to the face of the deck the card you w ish to
appear, and form a heel break above it. Face-up on top of the pack, openly
place the card destined to be transformed, and catch a leH fourth-linger break
beneath it. Now cut the face-up card into the pack, taking over the fourth
finger's break with the right thumb as you make the cut. On completing thE:-
cut, transfer the right thumb's bl'(~ak back to the left lourth finger. l\11 thl'
while, maintain the heel b1·eak. This brings the face-up ca f'd and its face-
down replacement together in the middle of the pack, with R Zorro break
separating the face-to-face pair from the cards above and below. Il'you now
execute the covered flippant, reversing the two ca~·ds in the middle of the
deck, the change is accomplished; and it is done w ith no llash o Frevolving
faces, as the turning cards arc face to face.
Admittedly, such a change is generally mof'e e lTective done visibly
on top of the pack, making flippant the p r efer·able sleight for· ~u ch
applications. However, possibilities for subtl er· elfects using the covere<l
Aippant are awaiting discovery, as Ke n Krenzel h <lS a lready proven.
Immediately after reading th is book in ma nu sc ript , Dr. Kren zel
d eveloped several tricks using the sleig ht.

118 .......... . ............... ...... .... ..... AI, ONI<' IN11 ( 'Rolf'/'
p

card is chosen, noted and lost in the deck. The deck

is next given one rifl:le shuffie that mixes face-up
cards into face-down. The confused condition ofthe
cards is clearly displayed. Yet, when the deck is
given a shake the chosen card pops face-up from the
center. In addition, when the deck is spread on the
table, all the cards are seen to have righted them-
selves: all are face-down.

The plot is obviously Dai Vernon's Triumph. The

basis of the method is the Zarrow shuffie, now a
standard approach. The fresh idea Mr. Earick
brings to this modern classic is a visually surprising,
instantaneous production of the selection, which
also results in righting the face-up cards in the pack,
all in one action. This action, as the title betrays, is
another variant ofLooy Simon ofF's sleight, flippant.
Let's begin:
Have a card freely selected and noted by
everyone. Then have it returned to the pack and
 -
BY FORCES UNSEEN .. ········ · ············· · ·· ........... .

control it to a position third from the top. There are many ways of
accomplishing this. Here is a simple one that fits nicely into the present
structure: Set the deck face-down and sidewise before you on the table.
With your right hand, take the selection from its chooser and, as you
riffle your left thumb up the near side of the pack, casually toss the card
face-down into the center, letting it lodge in the deck, jogged from the
right end for roughly a third of its length. Then perform the automatic
rear jog (pp. 3-5), apparently pushing the card flush while actually
jogging it slightly from the near side of the deck. Your outward attitude,
as you perform these actions, should suggest to the audience that the
location of the card in the deck is of no concern to you. It is just tossed
into the middle and knocked square.
Now, with both hands, grasp the deck by its ends, in preparation for a
cut. With your right thumb, push down and in on the injogged selection,
fonning a break above it, and immediately cut all the cards above the break
to the left. Proceed with a tabled riffie shuffie, holding back two cards with
the left thumb and letting them fall last onto the selection. Square the cards.
The chosen card is now third &om the top of the pack.
Divide the deck for another shuffie, cutting the top half to the left. This
time, though, before you perform the shuffie, flip the right-hand half face-
up in place.
Proceed with a Zarrow shuffie. It is likely that anyone reading this te..'\.-t
will be familiar with this excellent false shuffie. A basic description will be
provided, but for further details and fine points of handling, these works
are recommended: Ganson's More Inner Secret<~ of Carr) Magic (pp. 49-51),
Kau&nan's Complete Wori:JofD~kDingfe (pp.l37-139), and Fulves'sRi/flc
Shuffle Tech,W,ue. Part One (pp. 24-27).
The shuffie is begun normally enough, by riffiing cards off the thumbs
and interlacing the inner adjacent comers of the two packets. As the thumbs
near the tops of the packets, hold back three cards on the left and a few on
the right. Release the right hand's fmal cards, and drop the three cards &om
the left thum.b on top.
As the last cards &om both packets are released, the forefingers slide them
toward each other and slightly outward, forming small converging spreads
on each half (Figure 156). The hands now straighten d1e packets, so that
they lie parallel to each other; and in doing so, the meshed inner comers of
the cards are secretly disengaged (Figure 157). The spread upper cards
conceal this &om the audience.
120 ...................................... A F L! PPA NT TR!l' )fl'H

l
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BY F oRcE.s UNSEEN

158
\\lith the thumbs, lift the packets slightly at their inner sides. Also lift the
right hand's packet a bit higher than the left's to form a separation between
the top thre~card spread and the cards below it. Then push the packets
together, slipping the right hand's packet as a unit into the gap (Figure 158).
As you square the cards into each other, don't just slide them effortlessly
together. There is friction when interlaced cards are squared. Pretend to
ex-perience this natural binding as you push the packets flush. Do not,
however; overact. Carefully study your actions during a normal shuffle and
mimic them as closely as possible when doing the Zarrow shuffie.
A FLIPPANT TR! U AfPH ......................................... 121
BY FoRc Es UNsEEN ........................... . .. . .... . .. .

The forward spread of the top cards, combined with the raising of the
packets at their near sides, effectively obscures the front edges while you
slip the right hand's block under the three left-hand cards and push the
packets flush.
Ifyou have performedyour shuffles deceptively, the audience should be
convinced that the selection is lost and the cards are thoroughly mixed, face-
up into face-down. With your left thumb, riffie up the back edge of the pack.
As the thumb reaches the top two cards, press the right thumb 6..rmly against
the right inner comer of the pack, thus catching a break under these two
cards as the left thumb releases them. There should be no perceptible hesi-
tation in the left thumb's riflling as this break is formed and caught by the
right thumb.
With the left hand, undercut something more than half the cards, carrying
them forward; then set them square on top of the deck. Since this cut is made
somewhere in the reversed upper section, a face-up card is seen. Smoothly
follow this left-hand undercut with another, cutting all the cards below the
right thumb's break to the top. A face-down card (this time the selection) is
again on top of the pack.
During this double cut, face-down and face-up cards have been
shown, reinforcing the illusion of the pack being thoroughly jumbled.
In reality, the cards lie as follows: face-down selection, face-up half
deck. face-down half deck. '
We have now reached the point where standard procedures end and Mr.
Earick's creativity takes over. Pick up the deck and place it into left-hand
dealing grip. With y our right hand, casually cut the cards at the natural
bridge between the back-to-hack halves. Flash the underside of the upper
1
A simpler handling may occur ro some readers: If the selection is controlled to the top
of the pack. you can Zarrow shuffle the face-up cards under the single selection and
arrive at the identical position just described, w hile eliminating the need for a double
cut. So why does Sk Earick prefer tO use the three-card cover? Over the years he
has observed that executing the Zarrow shuffie under a single card is very seldom
convincing. even in expert hands. Consequently, he feels the added double undercut
is a small price to pay for a more deceptive shuffle. Indeed, as already noted, the cuts
in this case enhance the desired illusion. At chis point, ifyou like, you can further drive
home the mixed narure of the cards b_v performing Daryl's P uerto Rican cutting display.
Sine~ this se<ju.e.nce is incidental ro our current purpose. its description will be left to
other tex:ts: e.g.• 5a:rd.. ofa w~ Rican Gl1J11/kr': pp. 61-64.

122 · · · · · · · · · · · · · · · · · · · · · · · · · ... · .. . .... .. A FLIPPA NT T RI U MPH

. . ....... . . ... .. .. .. . .... . ... . . . ... . .. . B v P oR. C ES UNS EE N

packet. s howing another hac k, <aniJ 8ay, '"The cards are completely mixed,
some face-down . ·." Repi:AC<: the top packet on the deck, but catch a left
fourth-finger break hcncath it.
".. .and some face-up." Cut higher in the deck to expose a face-up carcl.
Then repla.cc the cut. As you J o this, lilt the inner end of the top card and
form a heel break under il. I laving achi~:.-ved this, remove the right hand &om
the pack and focus all attention on the cards. N ter a suitably dramatic pause,
perform Looy S imonoff'n fl ippant sleight, rapidly reversing all the cards
above the fourth finger's break. For those unfamiliar with £lippant, it can
be gathered from the pre-vious trick. The action o£' Hippant is essentially the
same as that of the covered fH ppant, but the top packet is sent spinning
rapidly in the air, rather than a center packet. As the left hand suddenly snaps
downward several inches, the fingers rclease pressure on the packet above
the fourth-finger break. This packet is left floating in midair, but it is also
tripped over the left thumb (which lies along the left side of the pack). This
causes the packet to flip over sidewise in a counterclockwise direction.
However. another element has been add ed here: the heel break under the
top card of the pack . This break introduces air under the top card, which
causes it to separate &om the packet as both are rotating. As a result, the
card becomes outjogged and side-
jogged a s the two packets come
suddenly together (Figure 159).2
In appearance, you seem to have
given the deck a small shake and, with
a p op, the selection jumps face-up
&om the center. Pause a moment to let
the effect register; then ribbon-spread
the cards widely on the table, with the
selection still projecting &om the pack,
'\
to show that all the cards have been
I '
/ \ magically righted.
Ifilippantisalready an item inyour
159 repertoire, some extra practice will be
2
Mr. Earick notes that, with many decks, the break is not strictly necessary to foster
the jogging of the card. If the card is merely lifted slightly, then released, before flip-
pant is pertonned, it will be loosened enough to cause the card to separate in flight.
However, the break provides more control over the action.

A FLIPPANT TRIUMPH .......... .. ........ . .................. .. 123

 Bv FoRcEs UN SEEN ..... . .... .... ............ ...... .... .. .

necessary to assure that you can catch the selection ou~ogged between the
packets every time. Ifyou do not perform the normal flippant sleight, I would
recommend you master it before attempting this variation. Note that, even
if the selection does not become ou~ogged during its revolution, the effect
can still be successfully concluded with only a small loss to the visual impact.
While Mr. Earick devised this variant more than ten years ago, without
knowledge of others' work in the area, it is only fair to recognize a similar
idea in print. Tom Potente contributed his flip revelation to Harry Lorayne's
magazine, Apocalypt~~. in 1989:3 Mr. Potente's sleight does not begin with a
packet reversed under the top card. Rather, aU cards are face-down. A
fourth-finger break is formed near the center of the deck, and a heel break
is held beneath the top card. Flippant is then performed, but the top packet
is sent on a full three-hundred-sixty-degree tum while the separated top card
rotates only half that far and is caught face-up between the bottom packet
and the returning top packet. The same physics apply to both the Potente
and Earick sleights, but Mr. Potente's maneuver requires the top half to ffip
over twice before it lands .

.tVol. 12, No. 2. pp. 1607- 160R

124 .......... ... .. . .............. . ....... / I F t . II'I' I !N/ TR!f f ;f!P/1

Ed
he four aces are clearly distributed throughout the pack
and a spectator shuffies the cards to assure that the aces
are lost. The performer retrieves the shuffied cards and
explains that, with a quick glance through the deck he
will sight the locations of the aces, then cut unerringly
to them. He riffies rapidly through the cards, taking less
than a second to do so. "Now that I know where each
ace is, 111 cut the deck into four piles, each with an ace
at the top. To make it even more of a challenge, I'll do
this by touch alone." He covers his eyes with one hand
while using the other to cut the deck into four face-up
piles. When he looks again at the cards he sees with
everyone else that no ace lies in view on any of the piles.
"If I had cut the aces to the faces of the piles, you
might think that I had somehow peeked a nd spotted
them. So I promised to cut the aces to the tops of the
piles, and I have. These aren't the tops of the piles." He
indicates the faces of the piles. "ThMe are the tops." With
this, he turns the piles face-down and shows the top
card of each-one, two, three, four aces, as promised.
 4

BY FoRcEs UNsEEN ................... . .................. .

The cards are completely unprepared and the cuts are honest; no slip-cuts
are used. The method instead relies on an extremely cunning combination
of sleights and subtlety. We will draw on techniques taught earlier in this
book, and add two new sleights that open further vistas of possibility.
You should be seated at a table when performing this, and have the
aces already removed from the pack as the result of a previous trick.
(This avoids the illogical procedure of searching for them so that you
can lose them.) You also must position two mates (say, the black nines)
or pseudo-mates (such as the eight and nine of clubs) at the top and
face of the pack. The aces lie face-up to your right and you hold the
deck face-down in left-hand dealing position.
"Do any of you play cards?" you begin. "Have you ever thought how
handy it would be ifyou could cut to any card in the deck you wished? Well,
you're not alone. Gamblers have thought just that thought for centuries, and
certain card cheats have figured out a way to do it, though it takes years of
practice to develop the necessary skill. I can demonstrate the technique with
these aces."
As you are thus setting the scene, your hands are setting the deck for the
Veeser-Dingle bluffshift, by getting a left fourth-finger break under the top
card (one of the mates). With your right hand, pick up the pile of face-up
aces, the ace ofspades lowermost. Then, with the left thumb, draw the upper
ace onto the pack and use the packet to flip it face-down. Repeat this
procedure with each of the aces, using the right fingertips to llip the last ace
face-down. Next remove the block of five cards above the break, handling
it as one card. Pretend to insert it low in pack, actually slipping it to the
bottom, and leave the top card of the block outjogged. (Refer to pages 39-
40 for a full description of this bluff shift action.) Quickly insert the next
three cards into the pack at various depths. When you are hnished there
should be four cards protruding from the front of the pack for about a third
of their lengths. Let the audience clearly see the separation of the cards. Then
turn the face of the deck outward as you fairly push the four cards flush.
The ace of spades is seen at the face of the jogged cards, subtly suggesting
that all is as it should be. (fhe spade is purposely set in this position because
it is more conspicuous and is therefore more likely to be noticed in passing.)
Turn the deck face-up in the left hand. Then, with the palm-down
right hand, grasp it by the ends, raise it several inches and dribble the
cards back into the left hand. You are obviously holding no breaks. Set

126 · · · · · · · · · · · · · · · · · · · · · · · · ....... . . . .. . .. . Bo TT OMLAND A cES

l
............... . . . ..................... BY FoRcEs UNs EE N

the deck face-up and sidewise on the table, as if about to commence a

tabled riffie shuffle.
"The aces are now separated in the pack, but some may think they aren't
actually lost. Does anyone here do a good thorough shuffie ?"Look around
the group as you bring your hands to the ends ofthe pack. "There is no sense
in my shuffiing the cards. I could shuffie all day and some ofyou would still
think that I was somehow keeping track of the aces." As you say this, casu-
ally riffie the left thumb up the inner left comer ofthe cards and catch a right
thumb break beneath the aces as the left thumb releases them. The mate to
the card on the face of the pack serves as a visual cue: the break is formed
directly above it.
You now steal the five cards above the break, palming them in your left
hand. This is accomplished with an original tabled palm.1
"So I won'tshuffie the cards,"you say, raising your eyes and both hands
from the deck, as if it suddenly occurred to you that you shouldn't even be
touching the pack. It is in this upward motion of the hands that the palm is
made, and by moving your gaze from the deck to the audience an instant
before you raise your hands, you misdirect away &om their actions. Let's
backtrack a few seconds. The hands still grasp the deck by its ends, and the
right thumb holds a break beneath the top 6ve cards at the inner right corner.
The tip of the left second finger presses lightly against the outer left corner.
Through the combined pressures exerted by this fingertip and the right
thumb on the non-index corners of the upper packet, it can be lifted cleanly
away from the deck. This is what happens as the hands rise in unison about
six inches (Figure 160). However, if this alone were done, the subterfuge
would be transparent. The packet must be concealed, then palmed. This is
accomplished as follows:
As the hands begin to rise straight up, the right fmgers extend fully,
screening the raised packet from the audience's view. Simultaneously the
hands move toward each other, the right thumb traveling behind the left
thwnb, the right fmgers over the left fingers. These actions cause the
diagonally gripped packet to pivot clockwise between the left second finger
1
Mr. Earick created this palming method by combining certain ideas taken from a deck
switch done by John Scarne in the 6lm The Sting, with other ideas suggested by Lany
Jennings's tabled top palm (ref. Dai ~rnon d Ultimak SecrettJ ofCanJMagic, pp. 157-158).
Nevertheless, the resultant palm bears little resemblance to either source.

BOTTOMLA ND ACES ...• ... ... ........ ... . . ........ . ..•........ 127
Bv FoRcEs UNSEEN ........•.....................•.•......

161
and right thumb, its right end swinging inward, its left end outward (Figure
161). The instant the packet comes parallel with the left hand, it is gripped
in lateral palm; that is, it is securely caught by its outer comers, the right
lodged against the tip ofthe second finger and the left pressed lightly against
the fleshy pad at the base of the second and third fingers (Figure 162). This
permits the right thumb to ease its pressure on the inner left comer of the
packet and move to a &ee and relaxed position.2

2EUsworth yrman was the first to describe the lateral palm grip in print. See M-U-M,
Vol. 44, No.1, June 1951 , p. 30.

128 ............... ·. · ·. · · · · · · · · · . ... . . . . .. . B o TTOIII LA N D A C ES

>

............ ...................... ..... Bv F o R cE s UN SEE N

The left hand's lateral palm is transitory. The left thumb immediately
extends across the back of the cards and engages the packet at its right side,
near the outer right corner. With the thumb's grip secured. the second finger
can relax alongside the other fingers, assuming a more open posture. This
leaves the packet in modified Tenkai palm, held by its outer end between
the thumb and hypothenar (F'lgure 163).
No time is wasted in getting the packet into this palm. The hands move
briskly upward and together, in a gesture ofabandoning the deck. To cover
the action further, the right fingers brush or massage the backs of the left
fingers briefly. Then the hands separate.
BoTTOMLAND A ces ............... . ........ . ......... . ........ 129

..______
BY FORCES UNSEEN . . · ···············•····················

While this palm can be done imperceptibly with the deck face-down, Mr.
Earick shows here that it can be done just as deceptively with the deck face-
up, through the application of a very old idea: the use of mates to disguise
an addjtion or a steal &om the face of the pack. When the lazy-Susan tabled
palm (as we shall call it) is done with the deck face-up it causes, in effect, a
transformation of the top card. (Indeed, it is conceivable that this sleight
could be used as a tabled color change.) But here, no attention is called to
the identity of the card, and the transformation is subtle. Ifusing mates, only
the suit changes. With pseudo-mates the value changes slightly while suit
and color remain the same. As the hands execute the palm, they block the
audience's view of the pack for an instant; and that instant, swprisingly, is
enough to obscure the change of the top card. This may seem overly bold,
but it is wholly deceptive, even in astute company.
When you separate the hands, draw the left inward to the near edge of
the table and bring it to r·est there, ftngers lying on the table top. This posi-
tion places the palmed packet out of sight, slightly below the table edge
(Figure 164). At the same time, use your clearly empty right hand to point
to someone who has indicated that they can perform a ri.ille shu.ffie. "It's
better ifyou shuffie them." With the same hand, flip the deck forward and
face-down, moving it toward the spectator.
The d eck is flve cards light, but if it is shuffied on the table, it is unlikely
that even an experienced card player will d etect the shortage; and if the
person picks up the deck to per·fo nn a n in-the-hands dovetail shuffie, you
can be reasonably assured tha t he isn't experienced enough to notice the
absence of five cards. Mr. &trick r'CCommends leaving two jokers in the pack,
the presence of whjch lessens the discrepant thinness.

164
J30 ............................... . ... .. .. . B vrrot~nAND A c es
 .... ... .......................... . B Y F oRct:: s UNsEEN

~-.

165
While the spectator shuffles the deck, you lean back and relax, dropping
your hands casually to your lap. There, tum the left hand palm-up and shift
the palmed packet to face-down dealing position. You now tum the top two
,, aces face-up and alternate them with the three face-down cards. The quickest
~ way to do this is to fan over the top two cards and take them into the palm-
down right hand. Revolve this hand palm-up, turning its two aces face-up
while keeping them spread. Simultaneously, push the top card of the left
hand's packet to the right. Then slip the right hand's upper ace between the
top two cards in the left hand. Next, use the left forefinger to buckle the
bottom card of the packet, and slip the right hand's lower ace between the
bottom two cards (Figure 165). This simple adjustment can be accomplished
in two to three seconds. The rearrangement can be done with one hand,
though the process will take longer, its only benefit being an onanistic sense
of gratification for the performer. In either case, try to accomplish the
adjustment of the cards wholly by touch, for ifyour eyes stray even briefly
to your lap, suspicion will result.
Don't bother squaring the packet with both hands. The left hand can
manage this on its own. Instead, raise the right hand nonchalantly to the
edge of the table and rest it there as you continue to watch the spectator
shuffie the cards, keeping attention focused on him.
Meanwhile, with the left hand, maneuver the packet into position to do
Mr. Earick's table edge variant of the Hofzinser transfer (pp. 88-89). That
is, turn the packet so that it lies parallel with the length of the fingers, and
straddle grip it between the thumb, at the left side, and the fourth finger, at

BOTTOMLAND Aces ....................................... . ... 131

BY FoRcEs UNSEEN . ............ ... . ..... ............ .. . . .

the right. (Because the packet does

not start in classic palm as this grip
is assumed, Mr. Earick finds it
more natural to use the thumb in
place of the forefinger on the left
s ide.) Then curl the third fmger
under the outer end of the packet
and straighten it, pivoting the
packet away from the palm and out
to the fingertips {Ftgnre 166).
When you see the spectator
move to complete his shuffie, ges-
ture with your empty right hand,
saying, "Give them a cut too." Let ]66
the right hand drop back to the
table edge and execute the transfer, raising the left hand toward the right
and placing the packet into right-hand classic palm. Then move the empty
left hand forward, palm-up, to receive the deck after the cut.
Now, as you hold the cards in left-hand dealing grip, bring the right hand
palm-down over the pack and grasp it by the ends, forefinger at the outer
left comer, thumb at the inner left. Do not try to add the palmed cards to
the deck at this moment. Instead, remove the deck &om the left hand and
gesture with it as you say, "Now everyone can be certain that the aces are
really lost in the pack."
Set the deck back in the left hand and extend the left fingers to the right,
until the tips can contact the right edge of the palmed packet. Then, with
the fingertips, pull the packet square onto the deck as you simultaneously
dig the left thumb under the pack and rotate it sidewise and face-up (Figure
167, an exposed view).3
"Even ifthe cards are face-up, it would be very difficult to cut to an ace."
As you say this, procure a left fourth-finger break above the bottom two
aces. This can be accomplished with a fourth-finger pull-down, a double
buckle or by silently releasing the two cards o(f the right thumb.

"This pa1m replacement is a minor variant of Edward Marlo's revolving replacement

(ref. Mion Palm, p p. 49-50). Mr. Marlo's replacement is, in turn, a relined handling of
one used by Nate Leipzig (ref Dai ~mon;, TrihuktoNale Leipzig, pp. 156-157).

132 ......... · · · · · · · · · · · · · · · · · · · · · · · · · ..... . B OTTOtlfLAND A CES

>
. ... ...... . ... . .............. . .... .. . . . BY F o R cEs U N SE EN

167

Move the right hand, still palm-down, to the near end of the deck and
grasp the lower half (less the two separated aces) by its inner corners. Pull
this half inward, stripping it from the pack Hindu-shuffie style (Figure 168),
and let the upper half drop flush onto the aces held back by the fourth flnger.
Gently toss the right hand's half onto the left's so that it lands in a slightly
injogged condition. Immediately let it slide forward until it is aligned with
the lower half. Friction will cause the lower card (or cards) of the packet to

BOTTOMLAND ACES ..•.......................................• 133

BY FoRCE S UNSEEN ...................................... .

remain injogged (FtgUre 169).~

Make the jog a small one, to
avoid exposing the reversed ace
second from the back of the
upper packet.
As you complete this cut,
cradle the deck loosely in the left
fingers, making it clear to those
who know of such things, that
you are holding no breaks. To
any others, your handling simply
looks relaxed and casual. You
now have two face-to-face aces
~~~~~~~~ M
pair, also faced, near center.
"Now I'm going to let you in on a secret. No matter how skilled the card
cheat may be, he cannot cut to a card if he doesn't know where it is in the
~· Even the best card mechanics need to take a little peek before they
cut. I'm no different." As you are saying this, bring the right hand over the
pack and square it, forming a left fourth-finger break ~der the injogged
card (a face-up ace) as you push it Oush. Tip the deck up on its right side
while maintaining the tip of the fourth finger on the break. Then riffie the
cards quickly off the right thumb, letting them fall face-up onto the left
fingers while you retain the break. (See pp. 73-74 for a fuller description of
this disarming Oourish.) As stated, this riffie is done rapidly. The speed serves
two functions: It conceals the two reversed cards in the deck, and it makes
clear to the audience that your talk of sighting the aces is sheer pretense.
At this point there should be no doubt in anyone's mind that the aces are
lost in the pack and that you are exercising no control over them. With the
right hand, square the cards and transfer the fourth 6nger's break to the right
thumb as you grip the pack by its ends.
"Now that I know the positions of the aces, I'm able to cut directly to
them. I do this entirely by touch. I don't need to look at the cards as I cut
them. In fact, 111 even cover my eyes." Striking a mildly over-dramatic pose,

~This long-standing stratagem is an idea of Ben &ens's {ref. T~ Seven Circle,, Vol. l,
No. 3, June 193 1. p. 19).

134 ... . .............. . . .. ............ .. .... BOTTOMLAND A C ES

....................................... B Y F oRces U N sFFN

170
place your left hand over your eyes and turn your head to the side. Then
proceed to cut the face-up pack into four piles:
'Watch as I cut an ace to the top of each pile." Drop the lower qucutcr
of the pack forward and to the left. Drop the second quarter- all the cards
below the thwnb's break -to the right of the fu-st. Drop the third quartet·
of the pack behind the first. And lay the remaining packet behind the second.
You have thus formed a rectangle of four piles (Figure 170). Each of the
left-hand piles has a pair of faced aces at the back.
Pause for a moment. Then remove your hand from your eyes and look
at your work: four face-up piles with no ace in sight. Pause again, letting
the humor of the situation (or at least some wonder at your seeming fail -
ure) develop. Look around at the spectators' expressions.
"You don't seem overwhelmed." Pause. "At the moment I don't blame
you. But I have one thing yet to tell you. You see, if! had cut the aces to the
faces of the piles, you would think that I had somehow peeked and spotted
them. So I promised to cut the aces to the tops ofthe piles, and I have. These
aren't the tops ofthe piles." Point to the faces of the piles. "TixcJe are the tops."
With palm-down hands, pick up the two forward piles by their sides.
Then tum the hands palm-up, holding the packets in dealing grip. You will
now produce an ace from the top of each packet, using a cunning deal-and-
load sequence of Mr. Earick's invention.
B OTTOM LA ND A CES ................ . .... ......... ... .... .... .. 135
Bv FoR cEs UNSEEN ........... .. ......................... .

First, do a two-card block push-off with the left thumb. These two cards
arc the face-to-face aces. Ifyour deck is in good condition, this push-off can
be accomplished without a break. Place your left thumb at the outer left
comer of the packet, resting on the very edge of the top cards. Then, with
a light pressure, push the top two cards as one to the right. If the deck has
even the slightest bridge in it, drag between the back-to-back second and
third cards is diminished, making it possible to push over the top two cards
in perfect alignment.~> The push-off can be aided by a slight rightward bevel
in the left side of the pack, which can be quickly installed by the left thumb.
lf this is your first exposure to the breakless push-off, the sleight will
pmbably seem impmctical. Surprisingly. it is much easier than it might seem.
T he secret is a light touch at the very edges of the cards. Nevertheless, if
the cards you are wot·king with won't separate properly, there is another
alternative. Execute a pinkie count, using the tip of the left fourth finger to
release the top two cards, secretly fanning a break beneath them. You can
now execute a standard two-card push-off. However, if this course is taken,
thet·e must be no hesitation in procw·ing the break.
Having pushed over the two cards as one, you now tum y our right hand
palm-down and grip the double card by its right side, using the right thumb
to clip it under the tight hand's face-up packet (Figure 171). Smoothly tum
the t-ight hand palm-up again, and in this motion use the right thumb to draw
the card immediately under· it squal'e onto the packet (Figure 172) while,
w id1 the r·ight fu•get·tips, you push the second ca.r·d of the double outward.
T his push-pull action of thumb and hngers is simihu· to that used when doing
a Down..<; change.
When the right hand is fUlly palm-up, it is seen to be holding a face-up
ace at the linget·tips. To the audience it appears as if you have merely
t•cmovcd I he top cal'(~ from the left hand's packet and turned it over. Yet you
have sect-ctly loaded a n ace onto the right hand's packet as weU.
Let the ace hJl from your lingers and onto the table at roughly the posi-
tion the right hancrs p.1cket pt-eviously occupied (Figure 173). Then tum
tlu· ldi h;~nd palm-clown as you push ovet· the top card of the r·ight hand's
packet. \ Vith the lcli fmgers and thumb, grasp this ca.r·d by its left side.
mimicking the t-ight hand's c;u·lict· actions, and tum the left hand palm-up,
revealing anothct· ;tee at the flngettips.

13ll ........ . ..... . ........ ... ..... .... . .... B oTTONL .1 .vn A cES
-
..... . .. . .. . . . . . . . . . . . .. . .... .. .. .. . .. . B Y F ORCES U NS E EN

173
B OTTOMLAND A CES . ............ . . . . . .... .. ................... 137
B Y F o RCES UNS EE N ......... .... ....... .............. .... .

Drop this ace onto the first; then curl your forefingers under their
respe tive packets and straighten them, llipping the pac kets lace-up at the
fingertips. Add one pa.ckct to the other and set the combined cru·d.s lace-up
to your left.
Pick up the 1-cmaining two piles, just as you did the first two, and rcprul
the deal-;md-)oad sequence tO produce an ace from the lop of Cr! Ch p<IJ'I< el.
Drop these aces with the others, combine the packets and sel them onto Lht
tabled pile. You have just made good your promise in II slightly surr}l'illing
and very impressive fashion.
As with most tricks in this collection, along with some excelle,11 mugic
you have been given severa1 valuable new sleights. fn this case we havr un
extremely deceptive tabled palm (which can be perfonned with the rfrcl<
either (i:,ce-down or face-up) and a novel deaJ-and-load lechniq11e cupul,le
of hwther application .

1.~ · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ......... . / l fl/ ltJ.I/1,11 N 11/lt I )

\
l.
.;

·,..
.:\
,..
Q
-

spectator is invited to participate in a card trick that

the performer has just received and never
performed. In fact, he reads aloud the instructions
for the trick, as he hasn't had a chance yet to go over
them. Following the steps of the instructions, the
performer removes some high value cards from the
deck and has them mixed by spectators. He then
hesitantly lays a wager on the table, as required by
the instructions. This wager will be forfeited to the
spectator if the trick fails.
The spectator is handed the cards and told to deal
two face-down as hole cards in a game ofstud poker.
The spectator does not look at the two cards, but he
can take either for himself, leaving the other for the
performer. He then deals eight more cards face-up,
to complete the two poker hands; and again he is
given total &eedom in choosing any ofthe cards for
himself, giving the rest to the performer. Even after
the deal is completed, the instructions invite him to
switch face-up cards with the performer, creating
the best poker hand he can for himself. Thus, the
BY FoRc Es UNsEEN ..................................... . .

spectator decides who gets every card of the ten. Nevertheless, when the
instructions tell the spectator to turn up the two hole cards, the performer
is found to have the better hand, thus winning the game and - much to his
relief-keeping his money, just as the instructions promised.

Having come this many pages, the reader is likely ready for a sh01t break
during which he can stretch his f1ngers and relax. Welcome to the rest-stop.
In the description just given, some may recognize a plot that sounds
very much like the old Ten-card Poker Deal; and they would be t'ight.
Those same astute readers wiJl remember that the princip le of the Ten-
card Poker Deal revolves on a 'Jonah card'; one card in the set of ten
that condemns its owner to lose, no mattet· what his other· c;u·ds arc.
As long as the Jonah card is somehow forced on the spectat01·, the
performer will always have the better poker hand. Knowing this, the
reader's curios ity should be aroused by the elTect desct·ibed above, for
the spectator is allowed to govern who gets every cat·d in the deal. I low.
then, can the performer be assured of winning cvety time?
Mr. Ea.rick's solution to this problem sprang {i·om a discussion with
Chuck Smith who, during a phone conversation, said that he had come up
with a method fordoing the Ten-card Poker Deal that allowed the si)C{'Iator·
a fair choice of all ten cards. Without knowing his (riend's method. Mt·.
Earick immediately suggested that the use oftwo Jonah cards could achi~w
this end. Indeed, this was the crux of Mr. Smith's method.'
Having been given this seminal concept, Mt·. Earick proceeded t o
develop a full method and pt-c..<;entation. When he latet· t-r·adcd mel hods with
C huck Smith, they found their solutions were significantly difJe,·<•t11. l n l\ \r.
Smith's method, the entire deck was used, and sleight -of-hand was t·cquir~'<l
as a continge ncy. Mr. Earick worked with only sixteen cards, and dcwlnp~~'< I
1
1t was PalLl Cun y, in 1974, who llrst pr·oposcd using two Jonah caJ"ds, thus 1wrmiuint:.
the spectator a ge nuine c hoice of all five cards in his hand (rc C "Cider" in Jltwl l /my
l~r.>mf<~. pp. 28-3 1) . Mr. Cuny's applic:~rion of this idea wa~ typically b.illiant. II i:~ two-
Jonahs concept is the basis of the pr-esent tt;ck. Stewart .lud;J, and Bruce Hc1n:!tein
huvc do ne reb ted wor'k in whic h vmious cards serve intcn•h;u'8cably as J 0 11.1hs , h1nng
di.llt-rr nt p hases of a r-outine. Sec:- Pt~llbt-n,YrJ JV.,,~..~ 1rnth l·i./t~>, Pnrl 1;,.,,, p . ~f,[,, .• ml
Bo·rnstcin 's PJ,y..·h-,~ttf manuscript. J\'k E:uick 's mcthcxl, howcv.: 1~ is quit<= dill~·r,·nt li'l>ll\
~u"\y o f its P"" lc<'essors.

142 ..... ·· · · · ·· · · · · ·· ··· ............ . ........ . Dot t ltf. Jo.' !J . 1.11 8 t l 1

. .. ...... ........ .. ..... . . ... ... ... .... Bv FoRcEs UNSEEN

a cunning procedure that was virtually sleightless. He also contrived a novel

and entertaining presentation, which will be explained as we proceed.
You will need a deck of cards, which may be borrowed, and a photo-
copy of the "instruction sheet" given on the next two pages. You will want
to enlarge these instruction pages about twenty-five percent when you copy
them. When Mr. Earick performs this trick, he assumes the role of a naive
and rather awkward amateur.
"Earlier today I received a new card trick that is supposed to be quite
good. I haven't even had time to read the instructions, but I want to
give it a try. Sooner or later you have to break in new tricks on an
audience. Would you mind if I tried this with you? That way I can see
how it looks and you can learn the trick along with me. That should
be fun. Here are the instructions.
"'The Never-lose Miracle Poker Challenge.' Sounds good already,
doesn't it! Warning: It is imperative that you read the following instructions
carefully before attempting to perform this trick.' I suspect the warning is
just for amateurs: people who don't know their way around a deck of cards.
"'Explain to your audience that you will remove a few cards from the
deck for a gambling demonstration. Remove a number of high value cards;
at least a dozen, but no more than twenty."'
Set the instruction sheet to one side, where you can continue to read it
as it lies, and pick up the deck. Spread it face-up between your hands and,
as you mutter to yourself about finding appropriate high value cards, outjog
these six: three jacks, two tens and a queen. Suits are immaterial. Strip the
six cards from the pack and lay them in a face-up pile on the table.
Spread through the deck a second time and begin to outjog a second set
of six cards: three kings, two aces and a queen. However, interrupt this
process and glance at the instruction sheet, reading from it:
"'Ifthe spectators appear bored, have someone assist you by mixing the
cards as you remove them.' You look a little bored. Would you mix these
cards for me?" Hand the six tabled cards to someone. Then go back to
outjogging the second six. When you have them, strip them from the pack
and look at another spectator. "You look bored too. You mix these.''
While the two spectators shuffle their packets, run through the deck once
more, this time outjogging two queens, an ace and a ten. As you strip these
four cards from the pack, take them in this order from face to back: queen-
ten-ace-queen. Set the balance of the pack aside.
DOUBLE DAMN ED .•.......••....•....•...•..•...•.. •. •....•.• . 143
r
I
c

The Never-lose
Miracle Poker Challenge
(Warning: It is imperative that you read the
following instructions carefully before attempting
to perfor.m this t rick .)
Explain to your audience that you will remove a
few cards from the deck for a gambling
demonstration. Remove a number of high val ue cards;
at least a dozen, but no more than twenty . If the
spectators appear bored, have someone assist you by
mixing the cards as you remove them.
Gather the cards and give them a cut . Then
perform the Blancmange shuffle. (See page 3 for
instructions if you are unfamiliar with this
shuffle.) The unusual appearance of this shuffle
will likely arouse corrments such as "Wow, you
expect me to play cards with you after seeing
that!" Explain to your audience that the rules of
this game make sleight-of-hand and cheating
impossible. Then remind them that risk is an
i nt r insic element of gambling. Without risk,
gambling would lose much of its charm.
Having finished the Blancmange shuffle, remove
the cards from behind your ear and place them on
the table .
You will not touch the cards again!
Remove a bill from your wallet and place it on
the table. This should be the largest bill you
have; preferably a $50 or $100 bill . Tell your
assistant that this will be his reward, should he
have the winning hand in your little game of stud
poker. Now explain the rules of the game :
 The two of you will be playing one hand of five-
card stud.
The spectator will deal one card (a hole card) to
each of you. These cards are to be dealt face-down,
and no one can look at the cards as they are dealt .
Your assistant has complete control over which of
you receives which card-but he cannot look at the
cards before making his choice.
When your assistant has made his decision, remind
him that it is irrevocable, and is the closest
thing to an element of risk (other than your
remarkable skill with the cards) he will have to
take . His choice of hole cards is completely free,
but must be made blindly.
Explain that the rest of the cards will be turned
face-up before they are dealt, and your assistant
will decide who receives each card. He is to deal
the next eight cards face-up, four to each of you ,
completing your two poker hands.
When your assistant has finished dealing, remind
him that his choice of face-down hole cards was
irrevocable, and these cards cannot be changed.
However, give him the opportunity to switch any of
his face-up cards with any of yours.
When your assistant has finished choosing his
hand, sum up as follows:
1) The cards were thoroughly mixed, with
consummate skill.
2) You have not touched the cards since your
assistant began dealing.
3) He decided from first card to last which cards
he would keep and which he would give to you.
4) The bill you placed on the table is his to
keep should he have the better hand.
Have him turn over the hole cards.
Take back your large bill and thank htm for being
such a good sport .
BY F oRc Es UNSEEN . ........... .... ..... ... ... . ...... .... .

"That should be enough." Join in the mixing by turning the last removed
group face-down and performing this pseudo-shuflle: Spread the four cards
fi-om left to right and, with your left hand, simultaneously slip the second
and fourth cards (ace and queen) &om the spread. Place these onto the right
hand's two cards (queen and ten). From the top the packet now reads: ace-
queen-queen-ten.
Continuing the "shuffie'; slip the bottom card from the packet (the ten)
and place it on top. Then transfer the bottom pair of cards (the queens) to
the top. At the end of this mix the cards read queen-queen-ten-ace from top
to face. (This is the simple procedure Mr. Earick uses. You can, of course,
work out another mixing sequence to suit your fancy, so long as it appears
uncalculated and delivers the cards in the required flnaJ order.) Returning
to the instructions, you now read:
'"Gather the cards and give them a cut."' As your reading misdirects from
your hands, push over the top two cards of the packet and square them
again, getting a fourth-6nger break beneath them. Then look up at the first
spectator and ask for his cards. Drop them face-down onto yours and cut
the two cards below the break to the top. Retrieve the second spectator's
cards and drop them onto the rest. Cut approximately a quarter of' the packet
(four or 6.ve cards) from the bottom to the top.
Now turn the packet face-up and spread it casually between your hands
as you say, "These look pretty mixed, wou ldn't you say?" Quickly spot a
ten below an ace in the spread. There will only be one such pair (the ten
and ace &om your four-card packet) and it will likely lie nearer the face than
the top of the spread. Injog the ten without calling attention to the action,
as you briefly display the cards to the spectators. Then close the spread in a
rather ragged fashion a nd flip the cards face-down. Immediately cut th(·
packet at the injogged ten, bringing it to the top.
'"Then perform the Blancmange shuHlc.' You know, I've heard of' that
shuffle. 'See page three for instructions if'you arc unfamiliar with this
sh~e."' Turn. t.h~ instruction sheet over. There is no f><.lgC three.
Oh. Well, Its JUSt a photocopy. r couldn 't aHorc.lthc trick. S() r asked a
friend to copy it for me. I guess he forgot to do page thrcc - I low important
can that shuffle be. Besides, I know how to shuffle cards.''
Perform a Charlier fal se shuffic as follow!>: Ilolding the r>ackct in lt·fi
.hand dealing posltlon,
·· pus h over three or four
· cards, also spre-..d ing thcrn
m"vard toward you CFigure 174). T<ike these cards into the palrn-up nght
146 . . . . . . . . . . . . ' · · · · · · · · · · · · · · · ..•............
/) 0/J/J/, f. /) Atl,
I \' 1 /)
•
 p

. . .... ..... . . . . ........................ Bv FoR cEs UNS E E N

hand. Then, with the left flngers, push over a small group of cards from the
lmltom of the packet. Take these on top of the right hand's cards, leaving the
original top card injogged beneath them (Figure 175). With the left thumb,
push over another small group from the top of the packet. Take this group
wider the right hand's cards. With the left fmgers, push over another group
from the bottom of the packet, take it on top of the right hand's cards; and
continue to alternate in this fashion - top to bottom, bottom to top-until
DO UBLE DAAfN ED ..... .......... .. ..•....... .... ......•.•.... . 147

..
r

BY FoRCES UNsEEN ......... ..... ... ......... .. .. .........

all the cards have been transferred to the right hand. Make no attempt to
handle the cards neatly, but do keep track of the original injogged top card.
This shuffie looks entirely innocent and slightly awkward. The cards
appear to be hopelessly mixed. Yet, all this mixing amounts to is one straight
cut of the cards. And ifyou now cut at the injogged card, bringing it to the
top, the packet is back in its original order. Do so and continue to read from
the instruction sheet:
"'The unusual appearance of this shuffie will likely arouse comments such
as 'Wow, you expect me to play cards with you after seeing that I" Explain
to your audience that the rules of this game make sleight-of-hand and
cheating impossible. Then remind them that risk is an intrinsic element of
gambling. Without risk, gambling would lose much of its charm.
'"Having hnished the Blancmange shuffie, remove the cards from behind
your ear .. .' From behindyourear? '... and place them on the table. You will
not touch the cards again!' That part is underlined. So I won't have to touch
the cards again. That's not a bad trick!
'"Remove a bill from your wallet and place it on the table. This should
be the largest bill you have; preferably a fifty or hundred dollar bill.' Hwnml"
Follow these instructions, bringing out a five or ten dollar bill with a sheepish
look on your face. '"Tell your assistant that this will be his reward, should
he have the winning hand in your little game of stud poker.' Well, that's all
I have-but I'm sure that'll be all right. After all, you're not going to win.
That's the point of the trick." Set the bill to one side.
"'Now explain the rules of the game: The two ofyou will be playing one
hand of five-card stud."' Here you ask the flrst spectator if he plays poker.
You want someone who is familiar with the game and the rank of poke,·
hands. If the spectator does not know the game, ask someone who does to
help you. Set the face-down packet before him. Do not hand it to him. You
don't want him to cut or mix the cards unexpectedly. Continue to read from
the instruction sheet:
'"The spectator should d eal one card (a hole card) to each of you. These
cards are to be dealt face-down, and no one can look at the cards as they
are d ealt. Your assistant has complete control ove1· which ofyou receives
which card - but he cannot look at the cards before making his choice.
"'When your assistant has made his d ecision, remind him that it is in'C·
vocable .. .' I think that means you can't change your· mind. ' ... and is the
148 . .. ... ... ........................ .... .... .. D ouBLE DttAfNJ-:I>
..... . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. BY F ORCES UNSEEN

dos•·st thing to an clement of risk (other than your remarkable skill with
the cnrds) ... ' \\fhy. thank you l ;... he "'rill have to take. His choice of hole
c:u-ds is completely h-ee, but must be made blindly."'
Have the spec tntor deal the top two cards face-down between you,
dc:Jing either one to himself and the other to you.lfhe starts to pick up the
p:\cket to do this, ask him to leave it on the table, to assure that neither of you
cnn cheat. After he has dealt the two cards, invite him to change his mind
ru\d switch his For· yours if he wishes. T he first card dealt is a ten, the second
:U\ nee. Both are Jonal1 cards, one of which will ensure that the spectator

finishes with the losing poker hand. You must keep track of the ten and ace
as they are dealt and 5'vitched, as the card the spectator takes for himself
wiUdetermine yOlu· ne.-...-t actions.
··· E.-...-plain that the rest of the cards will be turned face-up before they are
dealt. and yom· assistant will decide who receives each card."' This line
contains the central ruse of Mr. Ea.rick's method. The sentence seems clear
and simple enough, but it holds an element of ambiguity that makes the effect
possible. If the spectator takes the ten for himself, you must use the cards
at the bottom of the packet for the game. If he takes the ace for himself, you
must work from the top of the packet. Therefore, when you mention that
the cards will be turned face-up before they are dealt, two interpretations
are possible. If the spectator takes the ten, you have him turn the packet face-
up. If he keeps the ace, the packet is left face- down and he is instructed to
deal the cards from the top, turning them face-up.
"'He is to deal the next eight cards face-up, four to each of you, com-
pleting your two poker hands."' Guide the spectator through the dealing
process, having him take cards one at a time from the packet as he decides
whether he will keep it or give it to you. Throughout the deal, stress that he
is in complete control. When two five-card hands have been formed, return
to your reading:
"'When your assistant has fmished dealing, remind him that his choice
offace-down hole cards was irrevocable, and these cards cannot be changed.
H owever, give him the opportunity to switch any of his face-up cards with
any of yours."' Do just that.
"'Whenyour assistant has finished choosing his hand, sum up as follows:
'"One, the cards were thoroughly mixed, with con summate skill.'
Why, thank you very much! -although I'm a little worried about that
Blancmange shuffie.

DOUBLE DA AINED .•..................••...•............•.•.... 149

 --
BY FoRcEs UNsEEN ................. . ...... .. ...... . ..... .

'"Two, you have not touched the cards since your assistant began dealing.
'"Three, he decided from first card to last which cards he would keep
and which he would give to you.
"'Four, the bill you placed on the table is his to keep should he have the
better hand.' Well-but that doesn't seem ... okay, I guess.
"'Have him turn over the hole cards."' Ask him to turn over his hole
card first, then yours. Commen t on the value of' each ha nd as it is
revealed, pointing out in a pleased and relieved manner that y ours is
the better of the two.
"'Take back your large bill and thank him for being such a good sport.'
"See, didn't I tell you this would be fun!"

160 .............. .
· · · · · · · · · · · · · · · · · · · . ...... . . D ouBLE D AAINED
 Part Two:

See
Them
Shuffling
Along

II-..._
card is chosen and lost again in the deck. The deck
is then cut in half and the halves are .riffied into each
other, but are not pushed square. T his elongated
pack is tipped onto its side and held by just its upper
corners above the table top (Figure 176). The
person who chose the card is asked to name it. In
response to its name being called, the selection
slowly and eerily rises at an impossible right angle
to the other cards. In addition it is reversed in the
pack and rises quite obviously from the center
(Figures 177 and 178). Nothing but a regulat ion
pack of cards is used, and all can be examined,
should anyone ask.

In 1984 Ben Harris released a fascinating variation

on a centuries-old classic, the r ising card. In his
version the selection rose crosswise from the deck,
as described above. The trick, "Crosswize Rize';
appeared first on A &Mion wilh &n Harrw, a video
tape, and a year later in Mr. Harris's book Out ofHw
r

BY F ORCES UNSEEN .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ······

j
I

/
176

/
177

178
154 ........ . ............. .. ......... . ... . .... C R OSS p l/ RP O SE S

c
- ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... BY F ORCES UNSEEN

;t!vid! (pp. 24-27). The idea of having a can:.l appear in this bizarre fashion
was truly novel and visually effec tive. However, Mr. Harris's method for
getting into position for the rise was, to be &ank, awkward. It was impossible
not to think, while watching the odd setup procedure, that something was
being done, even ifone didn't know quite what -and this seriously undercut
the effectiveness of a worthwhile climax.
Mr. Earick saw the potential in the Harris concept and set about devising
a preliminary procedure that did not call adverse attention to itself. His
solution to the problem is as elegant as it is successfUL It also serves to
introduce another original sleight, which has uses well beyond the one
explained here.
"Let's examine how a magician can find a chosen card. First we need a
card to find. Will you please call stop as I riffie through the deck?" While
holding the deck face-down in left-hand dealing grip, riille the right fingers
up the outer end of the pack until told to stop. Lift the top portion from the
deck and turn the face of this packet outward to display the card stopped
at. It should be clear to everyone that you do not see the card. Replace the
right hand's portion square onto the deck, catching a left fourth-finger break
beneath it. (You can also use a standard corner-riille and peek to have the
card selected, and hold a break below the selection in the usual way.)
You must now turn the deck face-up and secretly reverse the chosen card
under it. There are many ways to manage this. Mr. Earick's method is as
economical ofaction as it is novel. It is based on his longitudinal swivel steal.
Bend the left hand inward at the wrist until the outer end ofthe pack points
rightward to approximately two o'clock. This turns the right side of the deck
toward you and just beyond the spectators' view. The deck is held between
the left thumb and forefinger, which rest at the sides of the pack, near the
outer comers. Your grip must be light but sure.
"It is important, now that we have a card to find, that you do not forget
it." As you say this, gently misdirecting the audience's attention from the
deck, dig the left fourth fmgertip into the break, then extend the fmger;
swiveling the selection counterclockwise around the third finger; until the
card lies at right angles to the pack (Figure 179). The thumb and forefinger
maintain control over the rest ofthe deck as the selection is pivoted out the
back. (For a fuller description of this fmgering, seep. 65.)
CRoss PURPoses ....................... .. ....... . .. . .... . .... 155
 -
By F0 R c I! s u N s 1': I~ N ...........................•...........

" ) think you'll agree that

it's pointless for me to find a
card that no one remembers."
O n the word me, make a mild
gesture toward yourself with
both hand s . In doing this,
bring the ncar edge o f the
crosswise card against your / "'
c hest and push it forward t
into the d eck . Because the
outer left corner or the card
seaL<> firmly on the heel of the
thumb, the right end of' the
card swings forward and into
alignment with the left lingers
( Figure 180). This a cco m-
plis hed, move the hand and
deck fo rward and away from
yourbody. 1
With y o ur palm-d o wn
.......
right hand, grasp the d eck by /
iL~ front end - thumb o n lop,
fingers on the face - draw it
forward and turn it end over IY
end. With the left hand, s imultaneously grip I he selection by it ends, using
180

light pressure between the fingertips and the heel of the thumb. As the deck
is drawn fo rward, the selection will pop neatly into ldi-hand classic palm
(Figure 181 ). As the pcJm is completed, Lake car e to avoid any scraping noise
of I he card as it clears I he d eck.
fmmcdiatcly return the deck, now face-up, to left -hand dc.:Jing position.
Helling it over the fi.l.CC-down r)<Jfl'l<.:d card. In <J mostthc s;unc action repb ce
the palmed card u nder the d eck. This is d one by curling the left fo rehnger
beneath the palmed card, and moving the len fo UJ1h lingc 1• !'c om the end ol'
the card to the inner Hid e (Figur·c IH2). S lide the fo u rth linger· inward along
1
Yuu <.<vi, if y11u prefer. relit the lt·ft l,:,nd <rutu:U iy o n t he tab le .\.Od u sc t he table top to
puah tlw <<trd into J><>'\l h On .

I!;,(, .. ..... .... .................. ........... . . (' R (} s s p {I R p (} s H s

p

..... ....... .... . ................. B Y FoRcEs UNSEEN

.....

181

182

CROSS PURPOSES ....... ........... . ...... . . .................. 157

 ....
BY FoRcEs UNSEEN ...........••..........................

183
the edge of the card, causing it to pivot on the heel of the left thwnb until it
is very nearly aligned with the deck (Figure 183).2 At this point the other
left fingers finish squaring the card under the pack.3
With your palm-down right hand, smoothly grip the pack by its ends and
perform three swing cuts, each time cutting roughly a quarter of the pack
into the left hand. (See pp. 8-9 for a description of the swing cut.) After these
three cuts, about twelve cards remain in the right hand. Set this final packet
onto the rest. This casual process positions the reversed selection about
twelve cards from the face of the deck. As you make these cuts, say:
"Now, if I cut the deck enough times, eventually I would cut to your card
by pure chance. But chance can often take quite a while, and I wouldn't
know it when it happened, because I didn't see what card you chose."
Turn the deck face-down and set it sidewise in front ofyou. Cut off the
top half and place it to the left in preparation for a riffie shu.ffie. R.iffie the
halves into each other as neatly and evenly as y ou can. (Mr. Earick uses a
tabled faro shu.ffie here, though the weave needn't be perfect.) Fmish by
dropping the last card of the left-hand packet on top of all. You do not
2
This is a small refinement on the standard replacement technique described by Ecdna..se
in Tk &peri althe CtvYJ TaiJ/e, pp. 89-90. Rather than use the left second 6nger to pivot
the card into place, the fourth 6fl8cr does the work. Thus. only one 6nger need move,
rather than three, accomplishing the task with less motion.
3
The idea of secredy reversing a card by turning the deck over onto it dates back to at
least 1910. On page70ofHattonand Platc'sMagicW1.1 'TrickJ:How TheyareDvne. a related
maneuver is explained using a variety of gambler's cop.

158 · · · · · · · · · · · · · · · · · · · · . . .................... CRoss P u RPO SES

 ,
................ .. ..... ...... .. ....... . B v F oRces UN SE I·:N

185
complete the shuffie by squaring the cards into each other. Instead, push
the halves together for only an inch of their length. Then slide the elongated
deck foiWard several inches and flip it over, flopping it back toward you
(F'Igure 184). Let it land face.. up on the table, thus returning it to the position
it occupied a moment before.
F1ipping the deck in this fashion automatically bevels the sides of the pack
foiWard, forming a slope on the side nearest you. During the flopping and
beveling of the cards, you will likely detect a slight separation near the center
of the right-hand half. This is caused by the natural bridge in the reversed
card (F'tgure 185). However, if no separation is perceptible, the card can
be located easily enough. Just riffie the right thwnbtip gently down the inner

CRoss PuRPOsEs ..... . ....................... . ............... 159

BY FORCES UNSEEN ........ ······· ....... . ...... ··········
-

right comer of the right-hand half until you see a back (Figw·e 186). Form
a break above the reversed card and, with the right hand, securely grip the
cards above this point.
With your left hand, which rests naturally at the left end of the meshed
deck, grip the left-hand half and pivot it clockwise a very short distance,
swinging the right end of the right-hand cards (those below the break)
inward half an inch or less (Figure 187). With the tip of the right thumb,
contact the back of the top card of this portion and hold it stationary while
the left hand reverses its action, realigning the lower section of the right-hand
packet with the upper section. This leaves the face-down selection angle-
jogged in the right half of the deck.4
Now, with both hands at the e nds of the meshed deck, raise it
straight up, an inch or two off the table. Since the lowermost cat·d of
all is the bottom card of the left-hand half, the t·ight hand can release
its hold on the cards without them falling. M ove the right h<uld leftward
to the center of the interlaced halves. At the sam e time, maintain the
right thumb's contact with the anglejogged selection, swiveling the right
end of the card inward and to the left (Fig ure 188), until it lies at right
angles with the pack. Press down with the t·ight thumb as you pivot
the card, bowing it convexly (Figure 189). By bending the c;u·cl in this
fashion you ensure that it isn't seen by the audience .
Extend your arms until you can set down the deck roughly two ~cet in
front ofyou. Without hesitation, spread the cards in toward you, {·o nning a
face-up double ribbon-spread. The right hand docs most oft he spr-eading,
working from the center of the interll\ccd packets while com:cnling the
4
T he clever anglejogging procedure is Karl Fulves's. &·e U.ij)7r Shuj}'lr '[f.c·h111;1ur. Hu'f Orw-·
p. 32-33.

160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C I( O s s p 1 , 11. p 0 S F S
...... .. . ...... .. .. . ...... . ... . ... ... . . B y F 0 It c 1·: s uNsEEN

/
/

189
turned selection until the spread cards cover it (Figure 190). Since the
pivoting procedure also naturally injogs the card a bit, its outer end will not
be exposed in the spread.
"In fact, I could see every card in the deck and still be without a clue."
As you say this, remove your hands from the spread and gesture at it. Don't
look at the spread as you speak. Pay no attention to it. You leave the deck
spread on the table for only a few seconds. Then you gather it in this manner:

CRoss PuRPoses .................... . ....... . ................ 161

 as;

Bv F o R cE s UN SEE N ..... . ..... . ......... . ...•.•...........

190
Position your palm-down right
hand at the inner side of the spread,
near the interwoven section, and
touch the tips of the first and fourth
flngers to the table while you curl the
second and third fingers loosely in
(Figure 191). With the left hand, lift
the outer side oF the spread a nd
draw it back, gathering the cards
inward toward the right hand. In
doing so, you automatically force the
r eversed and pivoted selection to
slide back, between the right first
a nd fourth fingers until it protrudes
about an inch &om the inner side of
•o
-
-----
the gathered pack (Figure 192).
This situation is entirely concealed
from the audience by the left ha nd
and the other cards. which are raised
somewhat at their outer· edge.
As you finish gathering th e
spread, continue to raise it until it
rests vertically, its near edge against 191
the table to p and the back of the
162 . ............ . ... . . . . . .... .... . ... .... .. . . CRoss P u RP osES

1
.. ... .......... ... .. . .............. .... BY F oRces UNseE N
cards toward the audience.
The projecting se lec tion is
forced to bow inward against
the table as this pos ition is
assumed. Adjust the hands'
grips on the cards to the op-
posite upper corners of the
interlaced packets, second
fingers on the back, thumb on
the face (Figure 193).
" But there is one way to
192 find your card. All you need
to do is call it by name."When
the spectators comply, raise the deck less than an inch from the table,
maintaining tension on the bowed selection. If the pack is lifted only a short
distance, the protruding end of the bent card cannot be seen &om the &ont.
Next, very slightly jiggle the cards, in a coaxing fashion. This gentle action
causes the selection to break through the top edge of the pack and begin to
rise. Slowly lower the deck to the table, making the card rise even farther,
until it can go no higher.
The jiggling action not only aids the card in rising, but also helps to cover
the lowering of the deck to the table. The visible separation of the pack from
the table top as the rise begins makes the action appear all the more magicaL
You will understand that, to control the rise of the card, it must not slip on
the table surface. Consequently, this trick must be performed on a tablecloth
or close-up pad.

CRoss PuRPoses ................... . ............ . ............ 163

BY FoRcEs UNSEEN . . .•..................... . ...... . ......

194
To conclude the effect, bow the ends of the deck forward (Figure
194) and spring the cards into each other. This leaves the selection
sticking crosswise from the top edge of the squared pack. Pull it from
the center and toss it to the table. If you pull forward as you draw the
card from the deck, you will remove any bend that may remain in the
card as a result of its previous bowing.
'This effect is quite pretty and, with Mr. Earick's handling, completely
mystifYing. The animation of the card is strange enough, but its crosswise
position in the pack makes it appear as if it materializes as it ascends. A trial
or two before a mirror will reveal to you just how magical this effect appears
to an audience.

164 ............. ... ... . .. ........... . ........ CRO SS P U R POSES

d
card is selected, noted and dearly lost in the center
of the pack. The deck is given one shuffie and the
person who chose the card is asked to name a
number. The performer cuts the deck and &om that
cut produces a card of matching value to the number
requested. Further, when he counts down in the
pack to that nW11ber, the selection turns up as the last
card of the count.

In 1919 David J . Lustig, vaudeville performer and

the brilliant mind behind the career of Joseph
Dunninger, published the baffling effect just
described. Titled "Peerless Card Divinations': it
appeared in Mr. Lustig's booklet, Vaudeville Magic. 1
This trick and several others in the booklet were the
invention of Dai Vernon, who roomed for a time
with Mr. Lustig around 1918 or 1919. Unfortu-
nately, the creator of these tricks went unmentioned
in Vaudeville Magic. Four years later Mr. Vernon
1First edition, pp. 9-1 0; second edition, pp. 6-7.
r
I
I
I Bv FoRcEs UNSEEN .......................... .............
included this trick in a booklet of self-working card effects titled Secret.J,
which he compiled and wrote.2 Decades later the trick was resurrected by
Lewis Ganson for Dai VemonJ Uliimale &ere& ofCmiJMagic. 3 And Heruy Hay
counted it among his favorite card tricks when writing Amdeur MagicianJ
HanJbook.4 Despite this history ofprestigious recommendation, one seldom
sees the trick performed. What a pity.
The elements of the original method were a bold placement of the chosen
card near the top ofthe deck, a double lift and a glide. In the handling about
to be explained, .Mr. Vernon's underlying method remains intact, but more
refined techniques-techniques unknown in 1919-are employed to
enhance the mystery of this excellent effect.
A simple four-card setup is required. On top of the pack is a seven ofany
suit. Under it is a si.x. On the face of the pack is an eight, and directly above
it is a nine. If you open with this trick (and it is fine for that purpose) the
four cards can be in place when you start. Otherwise, they can be managed
into position as you run through the deck under some pretext in the
preceding effect.
To begin, ribbon-spread the deck face-down before someone and ask that
she draw out a card. The chances of her choosing one of the set cards at
the ends of the spread are remote. If she does, you immediately know its
value and are in a position ofshameless advantage-but that is another trick.
As she notes the card and shows it to those around her, gather the deck
and set it sidewise and face-down before you. With your right hand, reach
out and take the sele<:tion from the spectator, conscientiously holding it face-
down. Riffie yow· left thumb up the back of the deck and casually, almost
carelessly, toss the selection into the center, so that roughly a third of it
proje<:ts from the right end of the pack. Adjust its position ifnecessary; then
perform the automatic rear jog (pp. 3-5). This results in jogging the selec-
tion for about a quarter of an inch at the inner side of the pack.
Move your hands a'\vay from the deck and let it rest on the table as you
talk a bit , ..rith the audience. This is very disarming, as the appearance of
the control is so nonchalant. Then bring the hands back to their respective
ends of the pack in preparation for- a riffie shuffie. Lower the side of the right

' Pp. 3-4.

3Pp. 27-29.
~p. 223-224.

166 . . ... . . . ..... . ....... . ..................... L u s T IG F OR LI FE

L
>
. . .. ........ . . ..... .................... B Y F o~cF.c:: L·ss:c::c::--

I
195
rhumb onto the injogged selection and form a brea.~ above it as :C,u push i:
tlush. Then, ,,;rh the same thumb, quietly riffle off three cards onto rhe
selection and cut the top portion of the pack to the right. On top of this
portion are the preset seven and six. Four cards from the top of rhe left-hand
portion is the selection; and underneath dus portion are rhe nine and eight.
Begin to shuffie the packets together, first releasing at least rwo cards 6-om
the left rhumb. Then shuffie evenly. As your thumbs near the tops of the
packets, you must hold back at least four cards ,,;th the left thumb. and
l.\·ad/y four ,,;th the right. The knack of holding back precise~· four cards
is one attained " ith the practice of ri.ffie stacking. \\ h.ile ir might seem an
onerous skill to acquire, it is in fact one that comes more quickly than
e.'\.-pected. Ifyou first make sure the sides of the packets are neatly squared
and their tops beveled slightly toward you, you \\"ill find that, as you near
the tops of the packets during the shuffie. the last few ca.rd.s naturally sepa-
rate on the thumbs (FJgUre 195). You quickly learn the feel of four cards.
You can conftrm the number of cards held back v. i rh a quick glance.
Howe,·er, do not stare at the cards while you shufHe. or hesitate when
nearing the tops of the packers.
Complete the ri.ffie by releasing the left thumb's stock, then the right
thumb's four cards onto that. Square the deck. This shuB:le has presencd
your four set cards at the top and bottom of the deck, while positioning the
selection eighth &om the top.
Leave the deck on the table as you ask the person who made the selection
to name a number: "Name any number found on the spot cards in the deck.
To make it challenoaing, make it a higher number. between hw and ten, sa~·. "
This, of course, is an age-old limiting ploy. which lean.~s the spe<:rator only
four choices: si.x, seven, eight and nine. Ne,·ertheless. if deJi,·ered in an
ingenuous and oflhand manner, it sounds reasonable.

L£·sr 1c FoR L1 F£ .................................. ......... ... lo7

b
 -
BY FoRcEs UNSEEN .....•.............•................•..

When the spectator names her nwnberyou must produce it neatly &om
the deck. Seven is the most often picked, so let's begin with it:
You have a seven now on top of the deck. You could simply
snap your fingers over the pack and turn up the top card. Mr.
Earick prefers something a little showier. He performs the
John Benzais spin cut to produce the carcl.5 This is merely a
tabled slip cut with an added fillip. Mr. Earick created this cut on his own,
only later discovering that he had been preceded many years in its inven-
tion by John Benzais. However, his handling ofthe sleight dilfers in several
particulars &om the original.
Bring the hands to the ends of the pack and grasp it, second 6ngers on
the outer come.rs, thwnbs on the inner, forefingers resting lightly on top.
With your left thwnb, raise the top half of the pack slightly at the near side,
while the right hand grips the bottom half.
Begin the cut by raising both hands and the pack about an inch off the
table. At the same time, move the hands apart and slightly forward the left
hand canying the top section of the pack, the right hand the bottom section.
Maintain the right fore6nger's contact with the top card ofthe deck, drawing
it forward and off the pack (Figure 196). Now stop the hands abruptly,
simultaneously releasing the right forefinger's pressure on the top card. All
this is done swiftly, with a flick of the hands. A&er a little practice you will
find you can make the top card (which has not quite settled onto the right
hand's packet) fly forward, tripping around the second finger (Figures 197
and 198). The simultaneous upward and opposite motions of the hands
impart a fluttery spin to the card as it leaves the packet, and a subtle
clockwise snap of the wrist aids in sending the card twirling to the table in
a gentle arc.
The instant you have sent the card spinning, let the right hand's packet
settle onto the table, and set the left hand's portion square on top. The cut
is done so rapidly, it is completed before the spun card comes to rest. Done
properly, a strong illusion is created ofthe card spinning &om the center of
the pack as it is cut. The flourish is visually surprising and rather pretty.
Twn up the produced seven and set it face-up on the table. "You did say
d~, didn't you? If we now count down <~even cards in the deck ..." Take
the deck into dealing position (or deal with the deck on the table ifyou like),
slowly count offsix cards and tum up the seventh. It is the selection.
5
Ref. The But of./3en:uU;, P· 39.

168 · · · · · · · · · · · · · · · · · .......................... LusTIG FOR LIFE

............. ... .... ....... ...... ...... BY F oRces UNSEEN

197

198
LUSTIG FOR LIFE ............................•...........•..... 169
--
....................................... Bv FoRcEs UNSEEN

the forefingers have finished pushing

the halves together, the pack should
appear squared from the front.
Raise your left thumb slight~ offthe
table (approximately an eighth of an
200 inch) and press forward on the project-
ing corners of the right-hand packet,
pushing them flush near the top while leaving the lower cards angled. You
actually form a beveled slope at the left inner comer (Figure 200). If you
were now to remove your hands &om the pack, only &om your vantage
could the projecting comers of the right half be seen. Your hands, though,
remain with the cards.
Inuned.iately follow the shuffie with an undercut. In a continuing action
of the left thumb, after creating the bevel, lift roughly half the deck at the
inner side. Then, with the right hand, grip the bottom half by its right
comers, without disturbing the angled cards, and slide the packet forward,
from beneath the top half. (Note that because ofthe beveling ofthe anglejog,
angled cards are not visible to the audience in either half of the deck.) Let
the top half drop to the table as the right hand brings its portion back and
over the other. Ifyou were now to look at the face ofthis portion, you would
see the nine and eight of our setup angled forward at the left end (Figure
201). As the right hand brings its packet over the left's, the left thumb hits
the projecting comer of the cards above this pair (Figlli"'C 202).
Gripping the upper por-
tion by its left comers while
avoiding the bottom pair, the
left hand takes the packet as
the right hand relaxes its grip
at the right end. This permits
the nine and eight to fall
I squarely onto the lower half.

\~)y
The right hand smoothly
transfers its grip to the lower
half and undercuts it in a
\ forward direction. It then
\
J carries this packet inward
20 and sets it onto the left hand's
LUSTIG FOR LIFE •••••.•••.•.•••••.•••••.•.••••••••.••••••.•••• 171
BY FORCES UNSEEN .......... . . ... ............ ······· · ····

202
half. The shuffie and double cut, performed brisklyy et casually, should blend
into a smooth flowing whole. Mr. Earick urges that, as you practice this
transfer, learn to do it by touch alone. It is perfectly practical to do the shuffie
and cuts without looking at the pack.7
You now have the nine on top of the pack, the eight below it
and the selection tenth from the top. Ifthe spectator has called
for nine, produce it with the Benzais spin cut and count down
to the chosen card, just as you did for the seven.

~d if the eight.was requ~sted, perform a ~lip cut, tum up the

e~ght (as you did for the slX) and count, Wlth as much theater
as you can command, to the selection.

This remains as fine an effect as it was when first published it in 1919;

and Mr. Eari.cks treatment of it increases the audience's appreciation ofyour
seeming supernatural skill.

7
Notc that this handling differs from the original. .1\'\r. Vemon used ;mend jog to set up
the double c ut. An anglejog is favored here as ic is better· concc;Jed.

172 ... . ..... . ....................... . ......... LtJS /'/(,' }o'(IR Lt/>'1-'

n honestly shuffied pack is spread face-up on the
table and an ace and a jack are drawn partly &om
the spread. lt is pointed out that these two cards
fOrm an ideal blackjack hand. They are also widely
separated in the deck. The per·fonner carefully
gather-s the cards and pushes the ace and jack flush.
T here are no questions ofswitches or displacements:
the two cru-ds remain in their or-iginal positions.
Someone now chooses how many hands will be
dealt in a grune of blackjack, and which player will
r'eeeive the winning ace and jack. The performer
promises to perfonn just one riffie shuffie, during
which he will stack the ace and jack to fall e..xactly
as requested-and he does e..xactly that. Without
false deals or othe· manipulation, he deals the speci-
fied number· of hands, delivering the ace and jack to
the designated player.

Two sleights taught in the previous trick -the

controlled riffie shuffie and the Vernon shuffie
 c
BY FoRcEs UNsEEN .............. . ....................... .

transfer-are instrumental to the stacking method about to be explained.

Ifyou have not learned them, you should do so before proceeding. Indeed,
this entire chapter is organized so that each item prepares the reader for the
next. By no means is this to suggest that the early material is elementary or
inferior, as an analysis of the feat just described will prove. The challenge
of stacking two widely separated cards, at random positions in the deck, to
fall to a freely chosen hand in a freely determined number of hands-all in
one shuffie-is impressive to laymen and magicians alike. Mr. Earick's
solution is as pleasingly simple as it is ingenious.
The deck can be shuffied by a spectator if desired, as there is no setup.
Widely ribbon-spread the deck face-up and look for an ace and ajack, one
lying about thirteen cards from the top end of the spread, the other about
thirteen from the bottom end. You have some latitude in choosing the two
cards and their positions. Your main concern is that they are separated by
roughly twenty to twenty-four cards. (The reason for this will be made clear
shortly.) Most often an ace and a jack will be found conveniently positioned
in a shu.ffied pack. If. however, you can't quickly locate cards in the required
positions, you can remove an ace and a jack from the spread, display them,
then reinsert them in the spread at the necessary positions. In either case,
jog the two cards forward in the spread for approximately half their length.
For this explanation, we will use the ace and jack of spades.
"Let's choose two interesting cards. Here is the ace of spades, and over
here is the jack ofspades. Those are interesting; especially ifyou are playing
blackjack. In blackjack these two cards would make an ideal hand. We11
leave them in the deck. Please note how far apart they are in the pack."
Neatly gather the spread while retaining the ace and jack in their
ou~ogged conditions. Then tum the deck face-down and sidewise in front
of you, in position for a tabled riffle shu.ffie. The ace and jack should protrude
from the right end of the pack. Throughout this procedure, handle the deck
in a way that clearly displays the separation of the two cards and the absence
of trickery.
You now casually push the ace and jack flu sh into the pack -or so it
appears. Actually, you execute the automatic rear jog (pp. 3-5) to jog the
two cards from the inner side of the pack. D o not grasp the pack after
injogging the cards. Let it sit for a few seconds as you talk, gesture or adjust

174 · · · · · · · · · · · · · · · · · · · · · · · · .... 0 N E SH UFF/, E - 0NE WINNER

..
 ... . . . . . . . . . . . . . . . . . . . . . . . . ... .. .. . . . . . BY F o R cEs UN SEEN

objects on the table. This enhances the idea that the cards have been lost in
... the deck and are beyond your control. If spectators are seated at your sides .
rest your hands casually on the table, positioned somewhat forward and ncar
the ends of the deck. The hands, placed as described, block the s ide views
of the deck and conceal the injogged cards. You can also sway the top portion
'' of the pack inward a bit to aid in the concealment (Figure 203).
"Let's imagine we have a friendly group here playing blackjack."
Bring the hands back to the deck and grasp it by the ends, secretly
pressing down with the tip of the left thumb on the upper jogged card, while
..vith the right thumb you slightly raise the lower jogged card . Form a break
above the upper card and another beneath the lower card as you push them
flush. This separates the center section of the pack from the top and bottom
portions (Figure 204) .

.,
'·

r:'
y 203

204
ONE SHUFFLE- ONE WINNER .. . ............................ 175
 c

Bv FoR CES UNSEEN ..........•............. . .... ..........

Now, withyourrighthand, shift the

center section to the left, so that a
quarter- to a half-inch step is formed
{Ftgure 205). Disguise this adjustment
as an abbreviated side-squaring action. 205
The fingers ofboth hands hide the step
from the audience. To provide some outward motivation for your hands
lingering on the pack (while also subtly showing the absence of breaks),
riffie the thumbs gently up the inner side as you ask, "How many people
are playing?"
Address this question to anyone in the audience, and take advantage of
the natural misdirection generated to strip the stepped center packet &om
the deck. Set the packet to the left, in position for a riffie shu.ffie. (The initial
twenty- to twenty-four-card separation of the ace and jack assures that the
two portions of the pack are reasonably equal in size.) Your ace and jack
now occupy positions at the top and face of the left-hand portion.
By now the spectator should have determined the number of hands he
wishes dealt. Let's assume the number is six. "All right, six hands it is. And
who would you like to get the blackjack?" This new question can be asked
of the same person or another. For our explanation the spectator nominates
the third hand.
"Six hands and the third player receives the winning blackjack. Given
four or five shuffles, some card cheats could stack the cards for those
circumstances. But I'll try to do a little better. 111 stack our ace and jack of
spades for the third player with just one shuflle."
Begin the shuflle by releasing four cards from the left-hand portion (thru
cards for the third player + one for a "burn" card). Actually, it is preferable
that y ou riffie off these four cards secretly as you make the preceding
explanation. It is extremely difficult to riffle off more than two cards without
displaying some hesitation in your shuHle. Consequently, whenever possible,
release the desired number of cards before the audience is aware that the
shuffie has begun.
Next let fall a few cards from the right portion, then shuflle evenly until
you near the tops of the packets. Your left thumb must retain the top card
of its portion, and the right thumb must hold back five cards (ju•l cards =
tJi."C hanJ.J- one). Finish the shuffie by releasing the left thumb's card, then

176 . ... .............. .. ........ ONE SH U FFLE - ONE WtNN ER

 ............... · · · · · · · · · · · · · ·· . ..... BY FoR c Es U NSt!: EN

the right thumb's group of five. (For an explanation of holding back exact
numbers of cards during a shuffie, seep. 167.)
You now square the cards and conclude the s hufHe with a double
undercut that transfers the bottom four cards to the top of the pack. Do this
v.rith the Vernon shuffie transfer (pp. 170-172) .
The ace and king are now set. Turn up the top card and place it undet·
the deck, "burning" it as is standard procedure in blackjack. Then deal six
blackjack hands, dealing the third hand face-up and the rest face-down. Deal
slowly and cleanly, making it clear that the cards are coming &om the top
ofthe pack. The ace of spades and jack ofspades will fall to the third hand,
exactly as requested.
The pattern for stacking the cards is stated in the example just given. The
left thumb begins the shuffie by dropping a number of cards equal to the
requested position of the blackjack plus one; and the r-ight thumb finishes
the shuffie by dropping a number of cards equal to the number· of hands
specified less one. It is a simple formula to remember, but the result in. the
eyes of the audience is extraordinary.
The idea of simplifYing and abridging riffie run-up systems by stacking
at the top and bottom of the deck simultaneously was first suggested in
magical literature by Roy Walton.' This excellent idea is neatly exploited
in the shuffie system just explained. Mr. Earick's system is both practical
and flexible; and, as is evidenced in our next demonstration, it can be
expanded to produce more complex r esults.

'Ref. Fulves's RijfoShulfle Techfliqu~, Pari///, pp. 149-150.

ONe SnuFFLe- O NE WINNER ................. ············· .177

...
he kings or any other four cards of like value are
removed &om the pack and set on top . The performer
proposes a five~ handed game of poker and asks which
player of the five should receive the four kings? With
this choice made, he gives the cards two riflle shuflle.s,
then proceeds to deal five hands. Each time he comes
to the chosen hand he turns up the card as it is dealt, so
that the audience can watch the four kings arrive like
clockwork. If desir·ed, the perfor·mer can enhance this
exhibition by pcr·fonning the shuffies blindfolded I

This two-shuHle stacking demonstration follows in the

footsteps of s huiTie methods by Edward Marlo 1 and
Darwin O rtiz/ though it is substantially different &om
either of these and, we believe, results in a smoother and
less studied appe<u·<mce.
1
"Two ;uld Two Combination" fi'Om M.vlo's RifjleShulfleSy.!lmw,
pp. 98-99.
7
"Fast Shunll''; scconJ ph;~sc, in Dillwut Orii:: at the Card Tabk.
p. 60.

c
 ................................. B v FoR cE s UNSEEN
- ... . .
Ifyou }ike, a spectator can choose four of a kind, remove the four cards
frorn the deck and se_t thex:' together _on top. Let's retain the kings as the
chosen foursome dunng this expl~non, and assume the spectator desig-
tes the third hand of five to rece1ve them. The fLrSt step necessary in
;~eking the kings is to transfer three of them to the bottom of the deck. Mr.
Ea,rick uses a triple un~erc~t to accomplish this:
Position the deck s1deW1se and face-down before you. With your left
thurnb, riffie up the near side of the pack and, when you reach the top three
cards, tighten your right thumb on the right inner comer ofthe deck to catch
a break under them while the left thumb finishes its riffie. With the left hand,
undercut a quarter of the pack, canying it forward, then back and onto the
deck. Without hesitation, undercut another quarter of the pack and place
it on top. The right hand takes over for the third undercut. It carries all the
cards below the break forward, then back and onto the deck. Three kings
are now on the face of the pack; the fourth is on top.
Next, direct attention away &om your hands and the cards as you explain
to the audience what you hope to accomplish. Taking advantage ofthis short
period of misdirection, use the right thumb to raise the top half of the pack
at the near side, and silently riflle off four cards, catching a break beneath
them with the left thumb (Figure 206). Then, with the right thumb, reclaim
the four-card block, taking it beneath the top portion, but holding a break
above it. You can now focus attention on your hands as they commence
shuflling the cards. The right-thumb break you have just formed allows you
to start the first sht.tffie without the slightest hesitation.
Neatly cut the right hand's cards to the right and start the shuffie by
releasing one card (a king) from the left thumb. Follow this by dropping
the four-card block off the right thumb. Riffie a few cards off the left thumb,
then shuffie normally Wltil you reach the tops of the packets. With your left

206
POKER B L I ND • ••••••••..••••••••••••• • •.••..•.• • .•. • ....•.•.• 179
BY FoRcEs UNsEEN ... ................. ..... .... ......... .

thumb hold back four cards; and with your right thumb hold back at least
one: a king. Release the right thumb's card (or cards) and finish the shuffie
by letting the left thumb's four cards fall on top of all.
Push the two portions straight into each other. until only an inch or less
remains unsquared. As you finish pushing the cards together, angle the left
end of the right packet inward, so that its inner left comer projects at the
near side of the d eck. The action is identical to that used to set up a strip-
out shuffie. However, just as you complete this anglejogging, raise the left
thumb slightly as you shift it onto the projecting inners comers of the right
half. Then squeeze the upper cards flush as you finish pushing the halves
together. Actually the thumb's action creates a beveled jog at the left inner
comer, with the upper cards pushed more or less square, and the lower cards
still distinctly anglejogged (seep. 171, Figure 200).
The lowest of the angled cards is the block offouryou first released from
the right thumb during the shuffie. A block of unangled cards separates this
from the angled cards above. With your left thumb, contact the angled cards
abol'e the separation and push them square. (By first installing a bevel to the
anglejogged packet, this new adjustment is made easier. If, however, during
the shuffie you drop a reasonably thick packet onto the four-card block, you
will find with practice that the left thumb can drive all the right-hand cards
above the four-card block square as you anglejog the block alone.) Only
the four-card block now remains angled. The instant this adjustment is made,
use the left thumb to raise the top half of the pack slightly at the near side.
With the right thumb and second finger, grip the bottom half by its right
corners and carry it forward, undercutting it. Then bring this halfback and
onto the left hand's portion. In doing this, do not disturb the anglejogged
cards. Drop your left thumb onto the projecting corner of the angled block
(Figure 207), and form a break above it.

'

180 . . . . . . . . .. ...... . .. . . .. .... .. ..... ... .. . . .... . p 0 KER B L I,\' D

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With your right thumb, release one card (a king) from the upper portion
to the lower, and immediately cut the upper portion to the uft, preparing
on .ro 3
for the second sh mue.
Start the shuffie by r eleasing three cards fro m the left thumb: a king
and two indifferent cards. This number must equal the position of th e
hand the kings will be dealt to. 4 Next release a few cards from the right
thumb a nd shuffie normally until you nca r the to ps of the packets. Iiold
back at least eleven cards on the right (the stock you have assembled
so far) and fo ur cards on the left. Re lease the r·igh t thumb's bloc k, the n
the four left-hand card s.
Conclude the sh uffie with a Yemon shuffi e transfer to bring the botto m
three cards to the top of the pack (see pp.l70- l 72). The kings are now
positioned to fall, wit hout further manipulation, to the thjrd hand. Deal the
cards of the third hand face-up and all ot hers face..down.
You can. ify ou wish, alter the num ber of hands dealt. Once you grasp
the mechanics or the example just explained, the adjustments necessary to
stack cards for a diffe rent number of hands can be easily understood.
As was initially mentioned, trus stacking demonstration can be done blind-
folded. Indeed. that is how Mr. Earick p<:r.f'orms it. All actions requir-ed to
execute the stack can and should be done by touch alone, without looking
at the deck . At fi rst you should simply learn the mechanics of the shuffies.
Then s trive to p<:rlorm them without looking at the card s. E ventually.
thr·ough practice, you will gain the necessary feel - and a part icularly
impressive demonstration of card-table skill.

JThe reader will ~u the Vt-mon shulllt- transli:r as the basis of this sequcn~ .
•As mentio ned m the pre<·« hng tnck. rdeas•ng t h~ t anls secretly as _you make some
comment. before the shullle rs pei"C'c:rved to st.u-t, ,..,JI make the shu m~ itselfl~s.'! hesi-
tM t and studjc:d in exe<:ulion .

p 0 I< F. R 8 /, I N n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
he aces and kings are removed from the pack. The
kings are d eliberat ely distributed in the deck, and
the aces are placed on top. A poker game with five
players is proposed. Any one in t he group specifies
which of the five hands will get the kings and which
the aces. The performer cuts the aces into the pack,
th en gives the cards one riflle s huffle. Five poker
hands are now dealt in an e ntirely honest manner
from the top, delivering the kings and aces to the
hands designated by the spectators.

The idea of stacking two hands at a time-the best

for the preordained winner and an e nco uraging but
lesser hand for a player sitting more in the shadow
of innocence - com es straig h t from the gaming
table. Methods for stacking two ha nds for a game
with only two players are fairly obvious. However,
when more than two players a re involved the chal-
lenge becomes greater. 1

'The earliest example ofsuch a riffle-stack to a ppear in mag;cal

>
....... ...... ......... ...... ........... B y F 0 R c E s u N s I•. ' ' N

Edward Marlo, in his book Th~ Paunkd Shu/fll', 2 detailed a method l{>r
stacking four kings and four aces to be dealt to the dealer and a sclcct<:d
opponent in a game with t~e or more players. Mr. Marlo's system r·cquir·cs
five shuffies and some facile mental arithmetic.
Mr. Earick's work on this problem began after he read another Marlo
stacking method, "Four with One Shuffie'; in Rif/&Shu.!fkSY<Jt~m.J.l In that
article four aces were placed on the deck and, with one shufDe, were stack<.-d
for a five-hand deal. One drawback to this method, in Mr. Earicks opinion,
was that the aces fell to the fJ.rSt ha nd. In 1984, while workjng out a one-
shuffie method to stack the aces for any hand, he hit on an idea that made
possible a one-shuffie run-up of aces and kmgs to fall to any two players in
4
a five-hand game.
Begin by openly removing the kmgs and aces &om the pack. Set the kings
face-down in one group to your right, and the aces face-down in another
group to your left. The deck itselfshould rest face-down and sidewise behind
these two groups.
Explain to your audience that first you will rustribute the kings in the
deck, losing them. This process, however, is not as haphazard as you make
it seem. Though it is not appare nt to the spectators, precisely three cards
are set between each pair of kings. In doing this, you are stackmg the kings
for the deal, before the shuffiing begins. Through this bold stratagem Mr.
Earick cunningly eliminates one riffic shuffie.
You can set the kings three cards apart in the pack in one of two ways.
You can riffie the left thumb up the back of the deck and stop to form a break
for the insertion of each king. After slipping a king into the pack, you then
release three cards from the left thumb before inserting the next.

literature seems to be P.W. Miller's "To Set Up Two Hands, Threes in Each Hand, in
a Four Hand Game': Jean Hugard included tNs in More CarJManipulaliotM, No.2 (p.
22). In this run-up, Mr. Miller begins with three kings over three aces on top of the
pack. and stacks them for four hands in three shuffies.
2
Pp. 93-%.
3
Pp. 94-95.
~DaiWin Ortiz has also tackled this problem. His method, called "The Twofer Shuffie';
was recently published in Darwin Ortizal the Card TaiJ!e, pp. 63-66. Tackling the problem
with a divergent set of methodological premises, Mr. Ortiz devised a solution vastly
different &om that about to be explained. A comparison of both men's approaches will
reveal the various strengths and weaknesses.

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However, Mr. Earick favors a procedure that appears less controlled and
more casual: With your left hand, cut approximately two-thirds of the deck
forward onto the table. With the right hand, pick up one of the kings and
flash its face to the audience. At the same time, riille the left thumb up the
near side of the larger packet and form a break under the top three cards.
This action is identical to that of holding back cards during a shuffie. You
have purposely placed the kings in a face-down pile to provide a reason for
displaying their faces before they are returned to the pack . These brief
displays create enough misdirection and delay to cover any small hesitation
as your left thumb separates the top three cards. Lay the first king face-down
onto the bottom portion ofthe pack, jogged for almost half its length beyond
the right end of the pile. Immediately lift the left hand's three cards from the
top portion and drop them onto the king, aligned with the pile beneath.
Return the left hand to the forward pile a nd separate another three cards
at the top as, with the right hand, you pick up another king and flash its face.
Set it onto the near pile, rightjogged for half its length, but also angled
somewhat inward at the right end (Figure 208). Lift the left hand's three
cards &om the outer pile and drop them onto the inner one, again aligned
with the pile.

\(208

184 .................... ... ... . ................. TAN DEAf I N 0 N t:

..... . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BY F oRCf:S u~sEE ~

\\'ith your right hand. pick up the third king and display its face as the
I ft thumb fonns a break under the next three cards of the outer pile. Lay
~is king rightjogged o n the inner pile. aligned with the first k ing. Drop the
~ef"t hand's three cards onto the inner pile. Then, with the right hand, pick
up the last king. Bash its face and set it into rightjogged position on the inner
ile. With your left hand, cut off about a third of the outer pile and drop
~hese cards onto the inner pile. With the same hand, immediately pick up
rhe remainder of the outer pile and drop it onto the rest. The kings all now
protrUde from the right end of the deck, and the king third down is angled
inward. This placement procedure is designed to give an impression of utter
casualness, as if it makes no difference where the kings are placed in the pack.
While there are only three cards between
each pair of kings, their separation is quite
apparent, and because the second king is
angled in toward you, the regular placement
209 of the kings is further disguised from the
audience's view (Figure 209).
Bring the hands to their respective ends of the pack and brace the left
end against the heel of the left palm as the right palm pushes the kings straight
to the left and flush. Thanks to the angle of the second king. it will automati-
cally become injogged. Friction will likely cause this card to straighten as it
is pushed leftward (Figure 2 10), but this is of no consequence, so long as
the card is jogged from the near side of the pack.
R emove your hands
fl·om the deck, leaving it
on the table, and relax as
you explain to the audi-
ence the purpose of this
demonstration: that you
will attempt to stack both
the aces and the kings in
\.. tf \
only one shuffie. The off-
~"1t\ hand placement of the
\ / kings in the deck, the
/ squaring of the cards
O with just the palms, and
21 the hands leaving the
TA N DEAf IN O NE .......................................•....... 185
 <

Bv F oRci!S UNsegN ................. . ................. . .. .

c.leck on the table - all these things deepen conviction that the kings are truly
lost in the pack . If there are spectators seated at your sides, you may wish
to slic.le the top few cards slightly inward to disguise the injogged condition
of the king, or lay your hands casually on the table, just a few inches to each
side ofthe pack (seep. 175, Figure 203). However, ifthe jog is not too broad,
and the sides of the pack are left a bit uneven when you push the kings flush,
the injogged card should not be conspicuous, even from the sides.
"To make it challenging, let's say there are five players in the game. Who
would you like to get the kings?" Ask this ofanyone in the group. '1\nd who
will get the aces?" This can be asked of the same person or someone else.
You must now do a very simple calculation: Picture how many hands lie
bt:twcen the hand elected to receive the aces and that d esignated to get the
kings. In determining this, always count clockwise, just as you will deaJ. A
few examples should make this clear:
1) The spectator decides that the Jecond player gets the aces and the fifth
player the kings. There are two hands between the second and the fifth.
Therefore, you remember two.
2) The Jecond player gets the aces and the thu:d player the kings. There
arc no hands between the second and third, so your number is zero.
3) The third player gets the aces and the /irtJt p layer the kings. Count-
ing clockwise, there arc two hands between the third and the first.
Remember two.
Pick up the aces, briefly display their faces, then drop them face-down
and square on the pack. With both hands, grasp the pack by its ends in
preparation for a rille shufile, and use the right thumb to press down and
inward on the injogged king, forming a break above it.
As you conllnn the conditions stipulated by the audience, make these
secret adjustments to the cards: From the right thumb silently release the
number of cards you have calculated, letting these fall onto the bottom
portion of the pack. Then, with the left hand, grasp the bottom portion and
shift it approximately three-sixteenths of an inch (th e width of a white
bor·der) to the right. The fingers of both hands hide this small adjustment
from the audience.
Release four cards from the right thumb, letting them fall onto the bottom
section (Figure 211, left thumb moved aside) and, with the left hand,
immediately shift this section back to the left. This steps the four-card block,
causing it to project slightly at the left end of the pack (Figure 212).
186 .... . ... . . .......... ... ..................... TA N DEll/IN O NE
 . . . .. . .... . . .. . ..... .... ... .. ... . . .. ... By F O R CES UN SE EN

{1 211
Now riflle the left thumb up the near side of the pack and, with the right
thurnb. catch a break under the top card (an ace). Next perform a double
undercut, moving the top card to the bottom of the pack in this fashion:
With the lett hand, undercut roug~y three-q~arters of the deck, carrying
it forward, then back and onto the nght hands quarter pack. Next, with
the right hand, smoothly undercut all the cards below the break forward,
and place them back on top. Throughout these cuts the left hand maintains
and hides the stepped block .
As you make the double cut explain, "F1.rst let's lose the aces in the pack."
On 6nishing the cut immediately riffie the right thumb up the inner right
corner ofthe deck until you hit the break caused by the stepped block. This
block acts like a short card, four cards thick, and can't be missed. When you
feel the break, continue to riflle four more cards off the right thumb. Then,
with the right hand, cut the remaining cards of the top portion to the right,
in preparation for a riffle shuffle. With the left forefinger, contact the top of
the left hand's portion and drag the top card slightly leftward. You can now
remove the hands from the cards, leaving the two packets on the table as
you say, "Five hands -aces and kings to be stacked - one shuffie. Well, here
we go." This little pause in the action performs three functions. It builds
dramatic tension; it emphasizes the extraordinary conditions under which
you are working; and it subtly shows, to those who know of such things,
that y ou are holding no breaks that w ould aid in stacking the cards. The
stepped block is masked by the slightly jogged top card of its portion, thus
allowing your bands to leave the packets. This subtle moment is one of the
most refined touches in the exhibition. Don't
overlook it. However, don't say or do
anything here that would overtly suggest that
you are trying to prove something. Treat this
interlude as a moment in which you are

212 gathering all your powers for an extremely

difficult feat.
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'nm
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Having mentally preparedyoursel£ regrasp the portions ofthe deck and

begin to shuffie. First, &om the left thwnb drop a nwnber of cards equal to
the position of the hand the aces are to fall to (e.g., if the spectator asked
that the t~ecotUl player receive the aces, you drop two cards). Then release a
few cards &om the right thwnb and shuffle normally until the left thumb
has released roughly halfofits cards and the right thwnb all but three (aces).
Because the left hand's packet is larger than the right's, the thwnbs' riffiing
speeds can be fairly even. At this point the left thwnb should be holding back
at least sixteen cards. Release everything below twelve from the thumb.
Holding back exactly twelve cards may seem extremely difficult, and it
would be were it not for the stepped block. We know that this block con-
tains four cards, as does the block above it. That makes eight. It is there-
fore just a matter of holding back four cards more below the step. Holding
back four cards in these circwnstances is not much more difficult than hold-
ing back four cards at the top. A quick glance at the inner edges of the cards
as they separate on the thwnb will ensure your count (Figure 213).
Without hesitation, drop one of the right thumbs aces, and release four
cards &om the left thumb onto it. Ifyou slide the left thumb leftward to the
inner left comer of the packet, this four-card release becomes almost auto-
matic, thanks to the step. Drop another ace &om the right thumbi then lower
the remaining eight left-hand cards along with the last right-hand ace,
slipping the ace between the stepped blocks (FJgU.re 214). This is easily done,
as the left end of the ace can engage the overlapping right end of the top
block and be slid slightly leftward, between the blocks.
Push the two interlaced portions of the deck into each other until less than
three-quarters of an inch is left projecting. Finish squaring the cards by
canting the left end of the right portion slightly inward, anglejogging it, as
if for a strip-out. Set the cards for a Vernon shuffie transfer and execute the
necessary cuts, shuttling the bottom few cards (marked off by the angled
cards above them) to the top of the pack. (See pp. 170-172 for a descrip-
tion of this transfer.)
The aces and Icings are now stacked to fall to the hands requested by the
audience. There are, however, two dealing procedures that enhance the final
effect. Which of these is implemented will be determined by the relative
positions of the aces and kings.
If the /dngd fall to a hatUJ after the tla4, tum each ace and king face-up as
you deal it, while dealing all other cards face-down. Only four rounds are
188 . ................. . ...... . ................ .. TAN DEII-I IN 0 NR
 ... . .. .... .. . ... .. ... . . . . . . . .. . . . . . BY F ORCES UNSEEN

I 213
J

I'
214
needed to complete the display. Turning up only the aces and kings as they
are dealt, clarifies the effect for the audience.
If th~ Icing<~ fall to a hand before th~ acu, five rounds must be dealt, as
the first card delivered to the kings hand will be an indifferent card. This
situation is the more desirable of the two possibilities, as an extra touch
of showmanship can be exercised. Instead of dealing cards face-up to
the ace and king hands, deal the first round of cards all face-down, as
you would for stud poker. On all subsequent rounds, deal the aces and
kings face-up to their hands. As the fifth round is completed, the four
kings will be face-up in their hand; but the ftfth card dealt face-up to
the ace hand is an indifferent one. It appears as if you have missed at
the last possible moment. Look surprised and hesitate-just long
enough to let the situation register, but not long enough for the
spectators to anticipate the climax. Then say, "Never forget the ace in
the hole." Turn up the hole card to reveal the fourth ace and conclude.
The idea of using blocks to simplil}r and accelerate riffie stacking was first
suggested by Edward Marlo in RiffLe Shuffle Sy.Jtel1'l.J, 5 where thwnb breaks
5
Pp. 91-95.

TANDEM IN ONE • • .••..•••.......•....•......••.....•.....••... 189

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were used to segregate blocks during the shu.ffie. Later; in The PatenleJ
Shuffo, 6 Mr. Marlo explained the idea of using stepped blocks in riffie
stacking. Eightyears after this, Karl Fulves, in his book Riffle Shu/fo Technique,
Part III. asserted that these ideas were derived from work shown Mr. .Marlo
by Harry Green? Mr. &rick's ideas using steps are based on those pub-
lished in the Marlo treatises.
Readers familiar with Derek Dingle's e£fect "Roll-over Aces" 8 should note
that the above shuffie system can replace the initial open insertion of the aces
into the fanned deck. Instead, you can simply drop the aces onto the pack
and introduce them into the setup of royal flushes with a single shuffie. This
idea is both practical and appealing.

After having developed the one-shuffie method just taught, Mr. Earick was
asked by his friend, Eric Evans, if it was possible to achieve the same end
starting with both the kings and aces on top of the pack, rather than inserting
the kings into the deck. Mr. Earick found a one-shuffie solution an insur-
mountable problem, but he did contrive a two-shuflle method. The shuffie
system Mr. Ea.rick devised to stack the cards from this position used the same
techniques of steps, double-ended stacking and shuffie transfers to achieve
the desired r esults. However; for purposes of performance, rather than
puzzle solving, it is felt that pre-stacking the kings under the guise of losing
them in the pack is the superior approach. In the eyes of an audience,
dispersing the kings in the deck, then stacking both aces and kings to order
in one shuffie, appears far more fonnidable than starting with all the desired
cards on top and using two shuffies to achieve the same results. Nevertheless,
some students of riffle-shuiDe work may perceive the two-shuffie approach
as an interesting exercise. For those readers, here is a swnmary:
As stated, the kings are on top of the pack, with the aces directly under
them. Begin by shifting the bottom half of the deck slightly to the right,
releasing three cards onto this portion and shifting it back to the left. This
creates a three-card step at the left end of the pack.
Form a right thumb break under the top card of the deck (a king) and
double undercut it to the bottom while you maintain and hide the step with
the left fingers.

6J>p. 60-62.
7 See pp. 147-148.
8 Ref. Fulves's Ri/foSbu/fle Technique, P~liminaryNotLJon Part TUIO, pp. 92-%.

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....
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With the right thumb, riffie up the right rear corner of the pack until
ou hit the gap caused by the step. Release three more cards from the
~ght thumb and cut all the cards above this point to the right in prepa-
ration for a shuffie. (Here you can pull the top card of the left- hand
portion slightly to the left to conceal the step, then remove your hands
from the packets as you talk.)
Begin the shuffie by dropping at least one card (a king) from the left
portion. Sh~e norm~y for a few cards, then release a large block from
the right portlon, holding back the top three cards (the rem~ kings).
Drop all but nine cards from the left thumb (the stepped block, the three
cards above it and three more below).
Drop one card from the right thumb, three from the left (the three
below the step), and another card from the right. Complete the inter-
lacing by slipping the last right-hand card above the stepped block and
between the two groups of three as you lower them onto the deck. This
flrst shuffie stacks the kings.
Push the packets flush, anglejogging the left end ofthe right-hand packet
inward. The left inner comers ofthree kings now project slightly at the near
side ofthe pack, as do the comers ofthe other right-hand cards below them.
With your left thumb, push the uppermost king square into the pack.
Below the two remaining anglejogged kings lies a large angled block,
which is separated from the kings by another block. On top of the angled
block are the four aces. Without disturbing the jogged kings, press the tip
ofyour left thumb down onto the anglejogged block. Then, with your right
thumb, lift all the cards above the block. This permits the left hand to
undercut the angled block and those cards below it. Place this portion
squarely onto the pack.
The cut brings the aces back to the top while preserving the anglejogged
condition of the two kings. The upper king of this pair corresponds to the
injogged king in the preceding one-shuflle handling. With the left thumb,
press down on this card, forming a break above it. You can now ask the
audience to nominate the hands to which the kings and aces will fall. Given
this information you proceed to stack the aces, using precisely the same
shuffling pattern employed in the one-shuffie version.

TA N DEAI!N O N E . •. . ..•.•..... . . . .•. . .... . ...... .. . . . . ... .. .... 191

n 1972 Karl Fulves posed a fascinating problem: Imagine that
you are playing in a five-hand poker game and have just rung
in a deck stacked to give you the four aces. That is, the aces lie
fifth, tenth, fifteenth and twentieth &om the top. Then, without
warning, two players decide to leave the game. The problem?
H ow do you shuffie the deck to adjust the stack &om a five-hand
game to a three-hand game? 1
Mr. Fulves had solutions to this and similar problems at the
time, but didn't release them until 1984, in Riffle Shuffle Technique,
Part Ill (pp. 192-201). In the interim Mr. Earick worked out
solutions of his own. Both men perceived that the answer lay
in a series of block transfer shuffles. Mr. Fulves elected to
accomplish the block transfers with strip-out shuffies. Mr.
Earick chose Zarrow-style shuflles for the task. Both shuffies
perform the desired function, but the Zarrow approach
significantly simplifies the handling.
Among the Fulves solutions using rille shuffies there are
adjustments for five hands to three, five hands to four, four hands

'See Riffle Shuff!~ TrchmiJu~, Pndiminary No/u on Parf One, p. 2 I. for the
original statement of 1his problem.
p

. . . ... . .... . ....... . ... . ..... . ...... .. .. By FORCES UNSEEN

three, and (contrariwise) three hands to five. Before these solutions

:ere made available, Mr. Earick decided to explore the pennutations
of adjusting only the five-hand stack. In pursuing this goal he generated
ad'ustments to alter such a stack to any number of hands &om two to
se~en. Given a mastery of this system, one can have the audience
specify the number of players wh~ drop out or join the game, after
which you shuffie the cards a few tunes, then deal the chosen number
of hands, always delivering the aces to yourself.
Another problem this plot presents is how to make the restacking feat
entertaining and impressive to other persons than magicians and devoted
card players. One can sidestep the issue by reserving the demonstration only
for such knowledgeable groups. However, the feat can be made effective
for a general audience if, first, it is given an entertaining presentation; and,
second, the audience is made aware of the difficulty posed by such a shuffie
adjustment. Mr. Fulves, who recognized the problem of presentation,
addresses the second issue by having someone in the group-preferably
someone who doesn't play cards -arrange the aces to fall to the dealer in a
five-hand game. Never having considered the problem before, it will likely
take a fledgling card-stacker a minute or more to discover the sequence
necessary to deliver the aces as requested. Following this exercise, your fast
and efficient adjustment of the stack while you shuffle the deck should
arouse the appreciation it deserves.
There will be some readers, nonetheless, who will assign this demonstra-
tion to those exercises that arouse interest only in enthusiasts of the riffie
shuffie. But even doubting readers are encouraged to give these solutions
their attention, for the next item presented is a remarkable elaboration of
the ideas laid down here: one that produces a profound impression in any
but the dullest of audiences.

We will take each case and its solution in order, beginning with one player
dropping out, then two and three. Following this we will examine the
adjustments necessary to accommodate one and two players joining the
game. In all cases, the aces begin at positions five, ten, fifteen and twenty
from the top, stacked for a five-hand deal.
THE CASE OF THE INCONSTANT PLAYER .. .. ... • .. ••••• ...... • 193
 a

BY FoRcEs UNSEEN ...................................... .

Riffie your left thumb up the inner side of the pack and,
J player with your right thumb, catch a break under the top two
feavu: cards. Then, with the left hand, undercut a packet offifteen
~====:::/ cards or less and place it on top of the deck. With your right
hand, immediately cut all the cards above the break to your right in
preparation for a riffie shuffie. (This double cut shifts the top two cards to
the bottom of the right-hand packet, removing them &om the stock. The
task could be accomplished with a block transfer, but this adds an extra
shuffie to the sequence. In Mr. Earick's opinion the double cut is the
preferable course of action.)
You will now perform a Zarrow-style shu.ffie (see pp. 120-122), holding
back a block of/we cards on the left and shu.ffiing the right-hand packet
under this block. Begin the shuflle by releasing some cards &om the left
thumb. Because the left packet is much larger than the right packet, you
should also release the left-hand cards more rapidly as you shu.ffie. Hold
back five cards on the left and a few cards on the right. Release the right
hand's final cards, and drop the five cards from the left thumb on top. These
five cards will be transferred as a block &om the left packet to the right when
the shuffie is completed. With the forefingers, spread the top blocks in the
usual fashion, to provide cover as you disengage the interlaced corners
below. Having done this, push the packets into each other until only three-
quarters of an inch remains unsquared. At this point, quickly revolve the
hands palms toward each other on either side of the pack and finish push-
ing the packets together, injogging the right-hand block. This injogging
action is the same one employed in the automatic rear jog (p. 3-5). The
fingers of both hands con-
verge in front of the pack
as you square it, helping to
conceal the configuration
of the cards (Figure 215).
This completes the first
Zarrow shuffie and block
transfer. With the tip of the
right thumb, contact the
inner right corner of the
stepped top block and lift
it, cutting the block, with
194 ................... THE CASE OF THE l NCONSTilNT PLAYER

c
 . . . . .. .. . . ... . .. .. ... ... . . . . ..... ... . . Bv FoR c J~ s UN SEEN

I I 1 live nu·d s ntop· it ·, to the

I h l' n< c c<-
right. Without hesitation, perform a
11ppmg
· · · t I1e ng
· I1t hand 's packet und er t he
I %:u ·•·ow ~h uiTic, t h1s ttme s
s<'c<,n< I . I d'
• · 1. . ..u'(..ls of' the cl t 1a.n s pac ct. k Ag am step t I1e ng
. . ht han d's pack et
tc>iJ J IJ/"
. .J then cut the stepped pac k et (wit I'tI1e tTans£erred block) to the right.
<-·
•n·w:uu. ll I' . .
Pcrfo nn a thi.-cl z~un)W shut e, s tppmg the nght-hand packet under the
top}..I•V' ,~~
.....J5 of the lclt-hand pa. • cket. Fonn a step as before, then cut the top
• • • •
~- \to the ,;g ht <U1d do a fourth Zarrow shufile, this hme shuflhng the
pot,tOI , .
: ht-hand packet undc•· the topjour C<U'ds of the left-hand packet. No step
11
g cl be fonncd
ll L"C .
during this shullle.
,
as it is the last. You have• accomplished
. g"''\1 If you now deal four poker hands, the aces will come to you
yoLII '-" · . ..
without fw1her ma.mpulahon.
The num bet· of cards moved in this sequence offour transfers is five-four-
(i•Y-fow: This is easily r·emembe1·cd, as you are converting a/we-hand stack
·to <t}ow'"hand stack. Karl Fulves de1·ived this block-transfer pattern, using
stt·ip-out shullles, rathe1· than Zarrow shuffies. Either shuffie will work.
Ilowever, the Zarrow shunle is the easier of the two to execute. In addition,
when using the Zarrow shuH-le, one need concentrate only on holding back
a block with the left thwnb. Strip-out shuflles require you to hold back
increasingly large blocks on the right as well. These factors should convince
most reade1·s that Mr. Za.rTow's shul:lle is best suited for the purpose.
With the basic sequence understood, the other stack conversions are
quickly explained.
F onn a break tmder the top four cards and undercut about
2 p/ayerd fifteen to the top. Cut all the cards above the break to the
Leave: 1·ight and proceed to do four Zarrow shuflles. On the first,
~===~ shuffie the right-hand packet under the topfive cards of the
lett-hand packet. As you squa.r·e the cards, form a step between the packets,
as taught above (Figure 215 again), and cut at that step for the next shuffie.
This rule holds fot· every shuffie but the last, in each conversion, excluding
those shuHles othelWise noted.
On the second shuffie, slip the right-hand packet under the top three cards
of the left-hand packet. On the third, shu.ffie the right-hand packet under
the topfive cards of the left-hand packet. And on the fourth, shuffie the right-
hand packet under the top three cards of the left-hand packet. Ifyou now
deal three poker hands you will receive the aces.
This pattern of block transfers is the one given by Mr. Fulves. (All sub-
sequent shuffie sequences are original with Mr. Earick.) Again, the Zarrow

Tue CAsE OF THE INCONSTANT PLAYER .........•..•....•... . 195

BY FoRcEs UNSEEN ...............•......... . .... . .•......

shuffies make your work easier. The mnemonic follows the same rule as the
previous case: Since you are converting/we hands to three, you remember
/ive-three-fwe-three.2
This case requires flve shuffies and a slip cut to achieve our
3 pfayerd goal. Begin by getting a break under the top hve cards of
feafJe: the pack and undercutting roughly twelve to the top. Then
~====~ cut all the cards above the break to the right for the first
shuffie. (An ace is now on the face of this packet.) Perform a Zarrow shuffie,
slipping the right-hand packet under the top /our cards of the left-hand
packet. Cut at the step, carrying the top portion to the right, and shuffle it
under the top five cards of the left-hand packet.
Cut the top portion to the right and shuffle it under the top two cards
of the left-hand packet. This time, as you push the right hand's packet
into the left's, press the left forefinger down on top of the deck. This
pressure is calculated to cause the bottom cards of the right-hand block
to spread as you push it leftward and swing its right end forward. This
forms a small fan of cards at the inner right side of the pack. The bottom
card of the fan is the ace that was cut to the bottom of the right-hand
packet, previous to the hrst shuffie.
Bringyour right thumb down on this card (Figure 216) and form a break
above it as you push it and the others square. Then cut at the break, ca.nying
the top portion to the right. This neatly transfers the ace from the bottom
of the upper portion to the top of the lower portion.

.'
L
216
2
For the record, this conversion also can be made with four four<ard transfers, followed
by a slip cut.

196 . ... . .. . .... · ...... TH£ CASE OF T H E / NCONSTANT PLA YI:.' R

--
.. ....... . . .... . ................ .. ... . . Uv F o R cE s UNst~ E N

Perform a fourth Zarrow shuflle. ~un s.lippin~ the 1-ight-hand packet

under the top t u'O cards of tht.' left -hand p.•w.kct . G tt at tlw step, canying the
top portion to the right, and shunlt' it undt't' tlw l'op.fnur caz-ds of the left-
hand packet. Conclude this serit.'s ofshutllt's with~\ t~\bled slip cut, sending
the top card to the center of the p.M.'k. lfy\)\1 now dt'RI two poker hands,
the aces will fall to you.
The shuffie pattern here is foal'/i~tc'-lu\"--ll >r•..ft•w; ·with one ccu-d transferred
during the cut prior to the fourth s.hntlle. 1o. t-cmt~mber this, note that you
are converting afi~~-hand stack to a tuv-hand stuck. ;uld that five-two-two
(five to two) falls between a pair of fou rs. You also must remember to
perform a slip cut after the shuflles. By the way, this is the only case in which
strip-out shuffies cannot be substinttt..>d For Z'UTOw shuffies.
Here is our ttrSt case in which the number· of hands is
J player increased, rather than decreased. No initial break is
arriCJed.' necessary to transfer top cru-ds dlll·ing a cut. Begin by
~=====:::-'undercutting about ten c~u-ds to the right. (This packet
must be small since, during the COlln>"'e of 6:ve shuHles, you will be transferring
a total of twenty-four cards onto it.) ShuHle this packet under the top five
cards of the left-hand packet. Cut at the step, CaJ'lying the top portion to
the right, and shuffie it under the top ,ti.x cards of the left-hru1d packet. Cut
the top portion to the right and shuffie it undet· the top/ute cards of the left-
hand packet. Again cut the top portion to the right and shuffie it under the
topaix cards of the left-hand packet. For the fifth and final shuffie, cut the
top portion to the right and shuffie it under the top fu-\'.1 cru-ds ofthe left-hand
packet. You can now deal si..x poker hands, giving the aces to yourself.
The mnemonic for this case is similar to previous ones: you are adapting
a/i.ve-ha.nd stack to acconunodate c~i.x players, which tells you the ttrSt four
shuffies are fi.Pe-<~ix-fo~-<~ix. You must then remember to add two to the end
of the sequence.
Undercut a packet of' about ten cards to the right and
2 p/ayerd shuffle it under the top .:~i.x cards of the left-hand
arrwe: packet. Cut at the step and carry the top portion to the
~=====~ right. Do three more Zarrow shuffles, each time
shuffiing the right-hand packet underaix cards. Shuffie once more, this
time slipping the right-hand packet under the top five cards of the left-
hand packet. The aces are now stacked to fall to the seventh player in
a seven-hand game. The mnemonic for this sequence of shuffies does

THE CASE OF THE I NCONSTANT PLA YER .... •···········•···· .197

BY FoR cEs UNSEEN ...................................... .

not follow the same logic used in previous ones, but it should not be hard
to remember tJi.."t-.li.:r:-rJix...tix.-fwe. You might think of the five as representing
the nwnber of hands for which the aces were initially stacked; or it may
remind y ou that you shu.ffie under five cards on the fifth shu.ffie.
These five sequences cover every possible choice of hands from two to
seven. Four or five shuffies are required in each case, but Mr. Zarrow's fine
shuffie is amenable to quick, efficient execution. Ifyou tell an interesting tale
as you work, the shuffies will go by swiftly. And remember-you are
pertorming a staclcing demonstration, so a series offour or five shuffies, while
excessive under other circumstances, is perfectly acceptable here.
Having come this far, the reader is now prepared for a remarkable
creation of Mr. Earick's, in which the principles taught above are cleverly
exploited to attain a truly impressive feat of card control.

198 ..... . . ....... . .... TH E CA S EOP T H E I N C ONSTANT P LAYER

he audience is told the tale of a legendary card sharp,
Fast-stack Slim, who could stack more hands faster and
better than anyone alive. On this particular night Slim
found himselfin a game with four high-rollers. Slim was
taking no chances that evening. He carried a wired
deck, stacked to give everyone a pat hand, but himself
a hand that was just a little bit patter.
These hands are dealt out on the table. The first is a
full house, eights over fours. The second is another full
house, aces over twos. The third is a straight flush in
diamonds, nine to king. The fourth hand matches the
third in hearts. And Slim's hand is the royal flush in
spades (Figure 217).
The performer assembles the cards, one by one, in
rotation, openly restacking them. The stacked cards are
then dropped onto the rest of the deck.
Two hours into the game, the atmosphere was
charged with the intensity of serious poker and Slim
saw his chance to move. The deal came to him and he
rang in the cooler. Just as he was starting to deal, the
Bv FoRcEs UNSEEN ..••..••......•......• • ... . .. ... . ......

217
player second &om his left was unexpectedly called away, leaving Slim with
five stacked hands and only four players.
Had it been anyone else, the night would have been a bust. But Slim just
calmly sat there shuffiing the cards. And as he shuffied he did an incredible
thing: he restacked the five hands for four players. On top of that, he made
the best of the situation by giving the three aces that were to go to the
departing player to the first man, improving his hand &om a fUll house, eights
over fours, to aces over eights - the best combination possible.
During the telling of this tale, the performer shuffies the cards. He then
deals out four hands of poker, giving each man exactly the cards promised:
a full house, aces over eights, to the first; a straight flush in diamonds to the
second; ditto in hearts to the third; and the royal flush to himself.

This presentation for the Fulves shuille problem employs a series of five
Zarrow shuffles with block transfers, and produces as striking a display of
card stacking as one could wish. As with the previous stacking demonstra-
tions, the spectators' appreciation of the feat grows with their understanding
of its difficulty. It is wise, then, to make this clear beforehand. Mr. Fulves's
ploy, mentioned in the last article, is a good one: Have someone in the group
who is less experienced in card playing arrange the four aces, stacking them
200 ................................. .. .. A LtTTLEBtTPATTER
........... . . . . . . . . . . . . . ..... . ... . .. ... BY F o R CE s UNS E EN

for a fiv~han~ deal. The tim~ ~d thought it takes him to accomplish this
onenh'
r-- •
",U dm.-e
.
home the. diH1culty of perfonnin~ 0
the task
·
seere tl'J'· '-TIOU
might then perform a stackmg demonstration, such as "One Shuffie - One
\\rmnet·" (pp. 173-1 77) , preparing the group for the tale of Fast-stack Slim.
It is also a good idea to use a ~econd deck with the five hands already stacked,
since the search and ordenng of t~venty-five cards is unlikely to keep an
audience perched on the edges oi their chairs. Since Slim is said to have
sw-itched in the stacked deck, there is no reason you shouldn't openly
e.-xchange decks at that point in the story.
The arrangement of the twenty-five-card stack &om top to face is:

44!-2+ -K+-K¥ -A+ -4+-2¥ -Q+-Q¥ -K+-8+-A+-J+

J ¥ -Q+-8¥ -A¥ -1 0+- 10¥ -J+-8+ -A+ -9+-9¥ -10+
This stack is set on top of the deck. Yo~u- story goes something like this:
"Like any other Field, the world of card sharps has its legends, and one
of the best kno\YTl is that of Fast-stack Slim. As close as we can tell, Fast-
stack Slim stufaced in the 1920s, just as things were beginning to roar. In
1935 he d.i---appeared. never to be heard from again. During the ten years
he was acrive in poker-playing circles, he gained a reputation among card
cht-ats of being the fastest rwt-up man in the business. He could stack a deck
faster and bette.~· than anyone alive.
"The story most often told about Fast-stack Slim was the time he
cold-decked the Hoover game. Slim had somehow slipped into the
graces of Herbert Hoover, shor·tly after Hoover had lost bad to
Roosevelt in '32 . Hoover held the occasional poker game in his New
York hotel suite, and on the night of our story he had invited four
friends to play: .Ma.x Baer, the heavyweight boxing champ, Scott
Fitzgerald, the novelist. the Rever·end Billy Sunday and Fast-stack
Slim. \Vhen Hoover invited Slim to the game, Slim knew he would
ne,·er haw a berte1· chance to make a killing. Deciding to leave nothing
to chance, he came prepared with a deck stacked for four suckers.
''The five men sat down to play poker. Two hours later the air was
dense with cigar smoke, and a glass of straight bourbon-not the first-
sat at each playt-r's elbow. The mood of the game had been slowly
building to an intense, quiet heat. and big bills in high piles frequently
drifted around the table in amounts Slim had seldom seen. Finally the

ALi l' TL £ BIT P.~ TT ER ................ ...... .... ..... ......... 201
 4
BY FoRcEs UNsEEN .... . ... . ........... . ........ . ........ .

deal came round to him and he saw his chance to move. The phone rang
and Hoover got up to answer it. A moment's distraction was all Slim
needed to switch decks, and he did it in the blink ofan eye. Let me show
you what he had prepared for the occasion."
Here you introduce the stacked deck and deal out five face-down hands
of five cards each. Starting with the first hand and working around to the
fifth, turn up each hand and spread its cards as you comment on them. "Slim
had prepared a full house for the Reverend Sunday, eights over fours.
Hoover was to receive another packed house: aces over twos. Fitzgerald,
a nine-to-king straight flush in diamonds. Baerwould get the same in hearts.
Slim had been generous, but never so much as to himself: the royal flush in
spades was his."
Pick up a card &om the face ofthe first hand (the four ofclubs), and place
it face-up in your left hand. Pick up a card &om the face ofthe second hand
(the two of clubs) and place it face-up onto the four of clubs. Continue to
pick up cards one by one, moving clockwise from hand to hand in rotation
as you restack the deck.
While you deliberately restack the hands, say, "Now, as I pick up these
cards, stacking them again in the order Slim had them, I'll make a little
confession. These aren't the actual hands he dealt that night. The men he
was playing with weren't fools, and five pat hands like these are enough to
tip off a room full of rubes. Slim gave his companions plenty to be pleased
about, but he was a lot more subtle. I've stacked these five hands because
they are easy to remember: full house, full house, straight flush, another one,
and the royal flush in spades."
Drop the stacked packet onto the balance of the deck. "Hoover hung
up the phone and walked back to the table. Slim started to deal five hands,
but Hoover stopped him. 'Sony, boys,' he said. 'You11 have to count me out
on this one. That was Charlie Curtis on the phone. Something's up. I've got
to see him for a few minutes. Don't break up the game. I'll be back in an
hour. Enjoy yourselves.' With that he left.
"And there sat Fast-stack Slim, holding the sweetest .6ve-hand stack ever
conceived, but with only four players to deal to. A break like this would have
made most men chew nails, but Slim didn't blink an eye. He just started
shuffiing the cards."
You do the same. You perform five Zarrow shuffies to this pattern: Get
a break under the top two cards ofthe pack and hold it with the right thumb
202 · · · · · · · · · · · · · · · · · · · · · .. ..... ...... . . . A LITTLE 8 IT P ATTER
--
....... . . . . . . . . .. . . . . . . . .. . . . . . . .. . .. . . . B Y F ORCES UNSEEN

as. with the left hand. you undercut a packet of about ten cards to the top.
!Jnrnediately cut all_the~ above the break to the right and begin the first
shuffie. Secretly shp the t"tght-hand packet under the top five cards of the
left-hand packet as you push them together and form a small angled step
between the two large blocks. Cut the stepped portion and the five cards
bove it to the right and shuffie again, this time slipping the right-hand packet
:nderfour ~s. On the third shuffie, slip the right-hand packet under five
cards; on the fourth, under four; and on the ftfth, under five. This pattern is
easily remembered: five-four-five-four-five.
While shuffiing, you explain, 'What Slim did was remove 6.ve cards from
his stack as he shuffied the deck. This is hard enough in itself, but Slim went
(Urther than that. Since Hoover wouldn't be there to receive the full house
of aces and twos, Slim took the aces from that hand and put them in the
first hand to make the best combination possible, a full house of aces and
eights. And while he did all this, he also adjusted all the other cards, so that
each hand he had originally stacked would still go to the same player. H e
wasn't called 'Fast-stack' for nothing."
The combination ofaces and eights is a necessary outcome of the shuflle
method, so Mr. Earick shrewdly exploits it to enhance the effect. As you
flnishyour explanation, the shuflling should also reach its end.
"When Slim was done, he let Max Baer cut the deck." On this line you
perform a tabled slip cut, sending the top card to the center of the pack; that
is, somewhere below your twenty-card stock. This brings the ace of clubs
to the top. "Cutting the cards didn't bother a man like Fast-stack Slim. He
just took them back and began to deal." Deal the cards face-up into five
poker hands as you comment: "Sunday got an ace, Fitzgerald a nine, Baer
another nine, and Slim got the ten of spades." Continue this commentary
as you build the hands. As promised, the flrst player gets a full house, aces
over eights; the second gets a straight flush in diamonds, nine through king;
the third player gets the same in hearts; and the dealer receives the royal
flush in spades. All hands arrive neatly ordered in numerical sequence,
making their natures immediately apparent to the audience.
"Slim walked away that night with enough cash to retire on. Some say
he did just that. Now, ifyou ever have the chance to ask a card mechanic
his opinion ofwhat Slim did that night in Hoover's room, he'll tell you it can't
be done. It's impossible to res tack four hands from five, while under fire, as
Slim did. They might be right. Remember, I did tell you that Fast-stack Slim
was a legenJ among card sharps."
A LITTLE BIT PATTER ........................................ 203
BY FoRCES UNSEEN ............................. ........ . .

A final note: After reading this trick in manuscript form, Ken Krenzel
observed that it is entirely practical to eliminate the deck switch in both the
stoxy and action. Just routine your card act so that those tricks that precede
"A Little Bit Patter" use only the tWenty-seven unstacked cards of the deck,
leaving your poker stack intact. You can then perform ':A Little Bit Patte,·"
with a deck that has been in play for some time. Consequently, you can
enhance Slim's reputation by saying that he stacked the five hands on the
spot. Nor will your reputation sufler &om use of this simple ploy.

204 ... ................................ .. A L 1 TTL£ B 1 r P A r 1 F x

Applause card disclosure
10
Automatic rear jog
3
Bcrw..a.is spin-c ut handling
168
l3ctwccn the palms production 79
nlulf shift variant
39
&ttom palm, one-handed 86
13ow-to-stcm co ntrol 15
13rauc reversal variant 46
Broads ide cente r steal 55
Charlier false shume 146
C lap midair production 13
Clap spin-out revelation 12
Convincing control, one-handed 83
Covcn..J flippant I 16
Crosswize Rize (Harris) 162
Deal-and-load production 136
Diagonal palm s hift, delayed handling 92
Elevated addition 30
Endfield slip-cut variant 48
Erdnas e break 19
Fingertip coin cut 108
Flicker glimpse J 12
Flippant pop-out 123
Gambler's cop 12
Goldin change variant 21
Katosoarus toss 100
Lazy-Susan tabled palm 127
Left-hand swivel steal 74
Longitudinal swivel steal 63
Nash multiple shift 3
 BY FoRcEs UNSEEN . . .........•...... . .............. . .....

Palm-to-palm transfer, classic to Oat 96

Palm-to-palm transfer, Oat to classic 103
Palm-to-palm transfer (Hofzinser), variant 1 76
Palm-to-palm transfer (Hofzinser), variant 2 88
Post-peek rillle display 73
Revolving replacement (Marlo) 132
Ri.ffie shuflle center control (Fulves) 160
Riffie stacking 167
Rotary reverse 19
Slap color change (Leipzig) 44
Spellbound coin to card change 105
Spread pass (Hofzinser) 28
Strip-out addition (Vernon) 36
Swing Cut 8
Swivel load 1 58
Swivel load 2 66
Swivel steal reverse 155
Taps control (Simon) 68
Teeter-totter turnover pass 113
Tenkai palm, modified 56
Turnover top palm 42
Vernon shuffie transfer, variant 1 170
Vernon shuffie transfer, variant 2 180
Zarrow shuflle 120

206 · · · · · · · · · · · · · · · · · · · · · · · · · · · .. . .. .. . . . . / N DJ::X O F S LE ! G ilTS

 The Never-lose
Miracle Poker Challenge
(Wa~:ning: It is imperative that you read the
following instructions carefully before attempting
to perfo1:m this trick.)
Explain to your audience that you will remove a
few cards from the deck for a gambling
demonstration. Remove a number of high value cards;
at least a dozen, but no more than twenty. If the
spectators appear bored, have someone assist you by
mixing the cards as you remove them.
Gather t he cards and give them a cut. Then
perform the Blancmange shuffle . (See page 3 for
instructions if you are unfamiliar with this
shuffle.) The unusual appearance of this shuffle
will likely arouse comments such as "Wow, you
expect me to play cards with you after seeing
that!" Explain t o your audience that the rules of
this game make sleight-of-hand and cheating
impossible. Then remind them t hat risk is an
intrinsic element of gambling. Without risk,
gambling would l ose much of its charm.
Having finished the Blancmange shuffle, remove
the cards from behind your ear and place them on
the table.
You will not touch the cards again!
Remove a bill from your wallet and place it on
the table. This should be the largest bill you
have; preferably a $50 or $100 bill. Tell your
assistant that this will be his reward, should he
have the winning hand in your little game of stud
poker. Now explain the rules of the game:
 The two of you will be playing one hand of fiv -
card stud.
The spectator will deal one card (a hole card) to
each of you. These cards are to be dealt face-down,
and no one can look at the cards as they are de a lt .
Your assistant has complete control over which of
you receives which card-but he cannot look at the
cards before making his choice.
When your assistant has made his decision, r e mind
him that it is irrevocable, and is the closest
thing to an element of risk (other than your
remarkable skill with the cards) he will have to
take. His choice of hole cards is completely free ,
but must be made blindly.
Explain that the rest of the cards will be turne d
face-up before they are dealt, and your assistant
will decide who receives each card. He is to deal
the next eight cards face-up, four to each of you,
completing your two poker hands.
When your assistant has finished dealing, remind
him that his choice of face-down hole cards was
irrevocable, and these cards cannot be changed.
However, give him the opportunity to switch any of
his face-up cards with any of yours.
When your assistant has finished choosing his
hand, sum up as follows:
1) The cards were thoroughly mixed, with
consummate skill.
2) You have not touched the cards since your
assistant began dealing.
3) He decided from first card to last which cards
he would keep and which he would give to you.
4) The bill you placed on the table is his to
keep should he have the better hand.
Have him turn over the hole cards.
Take back your large bill and thank him for being
such a good sport.